[164] In 1880, she made an Art Nouveau decorative bronze inkwell, a self-portrait with bat wings and a fish tail,[165] possibly inspired by her 1874 performance in Le Sphinx. [97] She next put on Hamlet, with her lover Philippe Garnier in the leading role and Bernhardt in the relatively minor role of Ophelia. Duquesnel described the reading years later, saying, "I had before me a creature who was marvelous gifted, intelligent to the point of genius, with enormous energy under an appearance frail and delicate, and a savage will." [74], She and her troupe departed from Le Havre for America on 15 October 1880, arriving in New York on 27 October. She wrote immediately to Perrin, "You forced me to play when I was not ready... what I foresaw came to pass... this is my first failure at the Comédie and my last." "[89] However, the abrupt end of her marriage shortly after the premiere put her back into financial distress. The note was accompanied by a tear-shaped pearl on a gold bracelet. [21] For the stage, she changed her name from "Bernard" to "Bernhardt". [65], On 4 June 1879, just before the opening curtain of her premiere in Phèdre, she suffered an attack of stage fright. Bernhardt added a maid and a cook to her household, as well as the beginning of a collection of animals; she had one or two dogs with her at all times, and two turtles moved freely around the apartment. She played the male lead role, but appeared in just two acts. This was produced by Eclipse and directed by Louis Mercanton and René Hervil from the play by Tristan Bernard. [49], In 1868, a fire completely destroyed her apartment, along with all of her belongings. Rostand went on to write Cyrano de Bergerac and became one of the most popular French playwrights of the period. She was forced to give up the Ambigu, and then, in February 1883, to sell her jewelry, her carriages, and her horses at an auction. [87] Just before the tour began, she met Jacques Damala, who went with her as leading man and then, for eight months, became her first and only husband. When the fishermen of the island suffered a bad season, she organized a benefit performance with leading actors to raise funds for them. The actors Edouard Angelo and Philippe Garnier were her leading men. On the morning of September 24, 1891, actress Sarah Bernhardt (1844-1923), along with her company, arrives in Seattle on a special train to perform a four-act play, Fedora by Sardou. She played a Moorish sorceress in love with a Christian Spaniard, leading to her persecution by the church. According to Bernhardt's autobiography, her grandmother and uncle in Le Havre provided financial support for her education when she was young, took part in family councils about her future, and later gave her money when her apartment in Paris was destroyed by fire. This London tour included the first British performance of La Dame aux Camelias at the Shaftesbury Theater; her friend, the Prince of Wales, persuaded Queen Victoria to authorize the performance. She began preparing, as she described it in her memoirs, "with that vivid exaggeration with which I embrace any new enterprise. She transcended the perceived conflict between the independent New Woman and the séductrice. For this scene, she kept two live garter snakes, which played the role of the poisonous asp which bites Cleopatra. There they talked only about dresses and hats, and chattered about a hundred things that had nothing to do with art. [8], When Bernhardt was seven, her mother sent her to a boarding school for young ladies in the Paris suburb of Auteuil, paid with funds from her father's family. sfn error: multiple targets (2×): CITEREFBernhardt2017 (, sfn error: multiple targets (2×): CITEREFGottlieb2010 (. Afterwards, the Emperor sent her a brooch with his initials written in diamonds. An all times favorite, award-winner Peony 'Sarah Bernhardt' is outrageously beautiful in bloom! "[110] Anatole France wrote of her performance in Lorenzaccio: "She formed out of her own self a young man melancholic, full of poetry and of truth. Award of Garden Merit of the Royal … The accompanying letter stated that the painting was "Peint par Louise Abbéma, le jour anniversaire de leur liaison amoureuse"[202] (loosely translated: "Painted by Louise Abbéma on the anniversary of their love affair") Clairin and Abbéma spent their holidays with Bernhardt and her family at her summer residence at Belle-Île, and remained close with Bernhardt until her death. [16] Her mother summoned a family council, including Morny, to decide what to do with her. She attracted controversy and press attention when, during her 1905 visit to Montreal, the Roman Catholic bishop encouraged his followers to throw eggs at Bernhardt, because she portrayed prostitutes as sympathetic characters. [84] When she returned to Paris, Bernhardt contrived to make a surprise performance at the annual 14 July patriotic spectacle at the Paris Opera, which was attended by the President of France, and a houseful of dignitaries and celebrities. [203], In 1882, in Paris, Bernhardt met a Greek diplomat, Aristide Damala (known in France by his stage name Jacques Damala), who was 11 years her junior, and notorious for his romantic affairs. Nagkamayda reputasyon hiya nga pagiging seryoso nga aktres ha drama, nga ginagnayan hiya nga "Sarah … [108] She used the new technology of lithography to produce vivid color posters, and in 1894, she hired Czech artist Alphonse Mucha to design the first of a series of posters for her play Gismonda. "[176], She also had her critics, particularly in her later years among the new generation of playwrights who advocated a more naturalistic style of acting. [126], During her German tour, she began to suffer agonizing pain in her right knee, probably connected with a fall she had suffered on stage during her tour in South America. [205] Upon returning to Paris, she found a minor role for Damala in La Dame aux Camelias and a leading role in another play without her, Les Meres Ennemies by Catulle Mendés. The money appealed to her, and she began negotiations. On 16 March, she was made a Chevalier of the Legion d'Honneur. Sarah Bernhardt (French: [saʁa bɛʁnɑʁt];[note 1] born Henriette-Rosine Bernard; 22 or 23 October 1844 – 26 March 1923) was a French stage actress who starred in some of the most popular French plays of the late 19th and early 20th centuries, including La Dame Aux Camelias by Alexandre Dumas, fils; Ruy Blas by Victor Hugo, Fédora and La Tosca by Victorien Sardou, and L'Aiglon by Edmond Rostand. Strange creature! In June 1879, while the theater of the Comédie Française in Paris was being remodeled, Perrin took the company on tour to London. Give us Hugo!". Nonetheless, her film is cited as one of the first examples of a sound film.[152]. The brooch presented to her by the Emperor and her pearls melted, as did the tiara presented by one of her lovers, Khalid Bey. Bernhardt was forced to sell her chalet in Saint-Addresse and her mansion on rue Fortuny, and part of her collection of animals. She was born Rosine Bernhardt in Paris, France. [118], Bernhardt opened the theater on 21 January 1899 with a revival of Sardou's La Tosca, which she had first performed in 1887. She had the chair decorated in the Louis XV style, with white sides and gilded trim. [136] The tour took her from Boston to Jacksonville, through Mississippi, Arkansas, Tennessee, Kentucky, West Virginia, and Pennsylvania, to Canada and Minnesota, usually one new city and one performance every day. [60], In 1877, she had another success as Dona Sol in Hernani, a tragedy written 47 years earlier by Victor Hugo. Although she was welcomed by theater-goers, she was entirely ignored by New York high society, who considered her personal life scandalous. Sarah Bernhardt (1844-1923) passe pour l’une des plus grandes actrices françaises de la fin du XIX e et du début du XX e siècle. She was defended by Emile Zola, who wrote, "How droll! [221], “The Eternal Feminine” was published January 16, 1886 by Revista Illstrada in Brazil six months prior to the first visiting of Sarah Bernhardt. Bernhardt studied acting at the Conservatory from January 1860 until 1862 under two prominent actors of the Comédie Française, Joseph-Isidore Samson and Jean-Baptiste Provost. She recounted in L'Art du Théâtre that "I only have to read a role two or three times and I know it completely; but the day that I stop playing the piece the role escapes me entirely... My memory can't contain several parts at the same time, and it's impossible for me to recite off-hand a tirade from Phèdre or Hamlet. [113], In 1898, she performed the female lead in the controversial play La Ville Morte by the Italian poet and playwright Gabriele D'Annunzio; the play was fiercely attacked by critics because of its theme of incest between brother and sister. Throughout her life, she always insisted on being paid in cash. Once her fortune was replenished by her tours abroad, she bought an even larger house at 56 avenue Pereire in the 17th arrondissement, where she died in 1923. She thanked the audience with her distinctive curtain call; she did not bow, but stood perfectly still, with her hands clasped under her chin, or with her palms on her cheeks, and then suddenly stretched them out to the audience. This time, however, the mattress on which she was supposed to land had been positioned incorrectly. Garnier politely stepped aside and let her go to St. Petersburg without him. "[13] That contrasted her answer, "No, never. She told journalists, "They're paying me ten thousand francs a day, and plan to film for seven days. Bernhardt was diagnosed with uremia, and had to have an emergency kidney operation. [62], Bernhardt repaired her old relationships with the other members of the Comédie Française; she participated in a benefit for Madame Nathalie, the actress she had once slapped. I remember my few months at the Comédie Française. I'm an atheist" to an earlier question by composer and compatriot Charles Gounod if she ever prayed. When asked years later by a reporter if she were a Christian, she replied: "No, I'm a Roman Catholic, and a member of the great Jewish race. She apologized profusely, and when the doorkeeper retired 20 years later, she bought a cottage for him in Normandy. [citation needed] In June 1867, she played two roles in Athalie by Jean Racine; the part of a young woman and a young boy, Zacharie, the first of many male parts she played in her career. An artist who has a dry voice can never touch the public." Saaaaaaaarah Bernhardt. When Perrin protested, saying that Bernhardt was only 10th or 11th in seniority, the Gaiety manager threatened to cancel the performance; Perrin had to give in. In 1917 she made a film called Mothers of France (Mères Françaises). She went to the new chief executive of the French Republic, Adolphe Thiers, and obtained a pass to go to Germany to return them. [145], In 1921, Bernhardt made her last tour of the French provinces, lecturing about theater and reciting the poetry of Rostand. Her leg had not yet fully healed, and she was unable to perform an entire play, only selected acts. "[105], Bernhardt's violent portrayal of Cleopatra led to the theatrical story of a matron in the audience exclaiming to her companion "How unlike, how very unlike, the home life of our own dear Queen! | 3/4 lgth., seated, facing right; as La Dame Aux Camélias, looking in mirror. [90], When Damala left, she took on a new leading man and lover, the poet and playwright Jean Richepin, who accompanied her on a quick tour of European cities to help pay off her debts. The house was demolished in the 1960s and replaced by a modern apartment building. Her patrons and friends included Charles de Morny, Duke of Morny, the half-brother of Emperor Napoleon III and President of the French legislature. Later that year, she produced a new play by Rostand, La Gloire, and another play by Verneuil, Régine Arnaud in 1922. [99] Her 1891–92 tour was her most extensive, including much of Europe, Russia, North and South America, Australia, New Zealand, Hawaii, and Samoa. For her curtain calls, she stood, balancing on one leg and gesturing with one arm. He stated that "We are far from admiring the talent of Sarah Bernhardt. [160] She quickly picked up the techniques; she exhibited and sold a high-relief plaque of the death of Ophelia and, for the architect Charles Garnier, she created the allegorical figure of Song for the group Music on the façade of the Opera House of Monte Carlo. Playwright and Theatre Director. [221] "The Eternal Feminine" stated that “The bello sexo", as journalists so often called women, may move into new occupations, but their beauty, elegance, and eternal femininity needed to remain in place.”[221]. She is also linked with the success of artist Alphonse Mucha in giving him his first notice in Paris. [98], From then on, whenever she ran short of money (which generally happened every three or four years), she went on tour, performing both her classics and new plays. Bernhardt lived with her longtime friend and assistant Madame Guerard and her son in a small cottage in the suburb of Auteuil, and drove herself to the theater in a small carriage. Perrin and the Minister of Fine Arts arranged a compromise; she withdrew her resignation, and in return was raised to a societaire, the highest rank of the theater. Sarah Bernhardt's identity as a Jewish woman elicits a greater idea of the representation of Jewish women in film, cinema and theatre. [64] When Perrin read in the press about the private performances, he was furious. [47], In her memoirs, she wrote of her time at the Odéon: "It was the theater that I loved the most, and that I only left with regret. She fainted and was taken from the theater on a stretcher, but refused to be treated in a local hospital. Bernhardt was a Roman Catholic, and did not want to divorce him. The name was changed back to the Théâtre Sarah-Bernhardt in 1947, then in 1957 became the Théâtre des Nations. Mark Twain wrote, "There are five kinds of actresses. I detest knowing in advance what they are going to serve at my dinner, and I detest a hundred thousand times more knowing what will happen to me, for better or worse. She cared for her younger sister who was ill with tuberculosis, and allowed her to sleep in her own bed, while she slept in the coffin. [17] Morny arranged for her to attend her first theater performance at the Comédie Française in a party which included her mother, Morny, and his friend Alexandre Dumas père. The play was staged at the Porte Saint-Martin Theater, opening on 24 November 1887. In 1918, she returned to New York and boarded a ship to France, landing in Bordeaux on 11 November 1918, the day that the armistice was signed ending the First World War. Not content with finding her thin, or declaring her mad, they want to regulate her daily activities, ... Let a law be passed immediately to prevent the accumulation of talent! No one! Her painting teachers were close and lifelong friends Georges Clairin and Louise Abbéma. She could select her repertoire and the cast. Bernhardt refused to do so until Madame Nathalie apologized to Regina. Les noms d'Édouard Bernhardt ou de Paul Morel, officier de marine, sont les plus couramment proposés . Bernhardt made her fame on the stages of Europe in the 1870s, and was soon in demand in Europe and the Americas. Sarah Bernhardt -- a famous French actress -- died March 26, 1923, in Paris. She paid particular attention to the use of the voice, "the instrument the most necessary to the dramatic artist." .mw-parser-output div.crossreference{padding-left:0}(see Personal life), When she returned to Paris, she was offered a new role in Fédora, a melodrama written for her by Victorien Sardou. He continued to make posters of her for six years. I place it at your feet." Make the calculation. [53] In early January 1871, after 16 weeks of the siege, the Germans began to bombard the city with long-range cannons. Sarah Bernhardt herself did much to shape the image of Jewish female beauty, seizing upon the means by which she, like so many Jewish women, was represented in order to make a new look her own. In early 1866, she obtained a reading with Felix Duquesnel, director of the Théâtre de L’Odéon (Odéon) on the Left Bank. According to some later accounts, she attended a masked ball in Brussels where she met the Belgian aristocrat Henri, Hereditary Prince de Ligne, and had an affair with him. She died from uremia on the evening of 26 March 1923. Hugo himself was in the audience. Late nineteenth and early twentieth-century melodramatic actress of stage and screen. The rest is cold, false, and affected; the worst kind of repulsive chic Parisienne! She would receive 5,000 francs per performance, plus 15% of any earnings over 15,000 francs, plus all of her expenses, plus an account in her name for 100,000 francs, the amount she owed to the Comédie Française. [123], Bernhardt continued to employ Mucha to design her posters, and expanded his work to include theatrical sets, programs, costumes, and jewelry props. [135] In 1908–1909, she toured Russia and Poland. [144], In 1920, she resumed acting in her theater, usually performing single acts of classics such as Racine's Athelee, which did not require much movement. [34] Other accounts say that they met in Paris, where the Prince came often to attend the theater. The Odéon was popular with the students of the Left Bank. These are American rates, and I don't have to cross the Atlantic! . The leading French critic Sarcey wrote, "This is nature itself served by marvelous intelligence, by a soul of fire, by the most melodious voice that ever enchanted human ears. The older actress fell onto another actor. [66] Nonetheless, the performance was a triumph. Henriette-Marie-Sarah Bernhardt dite Sarah Bernhardt, née à Paris vraisemblablement le 22 ou 23 octobre 1844, et morte dans la même ville le 26 mars 1923, est une des plus importantes actrices françaises du xix e siècle et du début du xx e siècle 1. She often worked as a courtesan, taking wealthy and influential lovers. The British critic Max Beerbohm wrote, "the only compliment one can conscientiously pay her is that her Hamlet was, from first to last, a truly grand dame. She told her friends that she married because marriage was the only thing she had never experienced. The door was closed, and no one in the audience seemed to notice the addition. [133] In 1909, she again played the 19-year-old Joan of Arc in Le Procès de Jeanne d'Arc by Émile Moreau. She built bungalows for her son Maurice and her grandchildren, and bungalows with studios for her close friends, the painters Georges Clairin and Louise Abbéma. Emperor Pedro II of Brazil attended all of her performances in Rio de Janeiro, and presented her with a gold bracelet with diamonds, which was almost immediately stolen from her hotel. [2], Bernhardt's mother Judith, or Julie, was born in the early 1820s. Unlike tree peonies, herbaceous peonies die back to ground level in winter. Sandra Bernhard (born June 6, 1955) is an American actress, comedian, singer, and author. "[106], Bernhardt in Gismonda by Victorien Sardou (1894), Poster for Gismonda by Alphonse Mucha (1894), As Melissande in La Princesse Lointaine by Edmond Rostand (1897), Bernhardt made a two-year world tour (1891–1893) to replenish her finances. Her salary was immediately raised to 250 francs a month. [127], In 1903, she had another unsuccessful role playing another masculine character in the opera Werther, a gloomy adaptation of the story by German writer Johann Wolfgang von Goethe. Portrait of Sarah Bernhardt, actor (1844-1923). [31] Instead, she went to a popular theater, the Gymnase, where she became an understudy to two of the leading actresses. She later returned to her apartment on the rue de Rome in May, after the Commune was defeated by the French Army. He began writing a play, Salomé, in French, especially for Bernhardt, though it was quickly banned by British censors and she never performed it. Her original birth certificate was destroyed when the Paris Commune burned the Hotel de Ville and city archives in May 1871. She moved to Paris, to 5 rue de l'École-de-Médicine, where in October 1844, Sarah was born.[195]. Some women also found the acting profession to afford them freedom and independence. [7] Her mother traveled frequently, and saw little of her daughter. Bernhardt was forced to give up the Renaissance, and was preparing to go on another world tour when she learned that a much larger Paris theater, the Théâtre des Nations on Place du Châtelet, was for lease. Oscar Wilde called her "the Incomparable One", scattered lilies in her path, and wrote a play in French, Salomé, especially for her; it was banned by British censors before it could be performed. All that remains is the original old fort, and a seat cut into the rock where Bernhardt awaited the boat that took her to the mainland. [72], She could not perform La Dame aux Camélias on a London stage because of British censorship laws; instead, she put on four of her proven successes, including Hernani and Phèdre, plus four new roles, including Adrienne Lecouvreur by Eugène Scribe and the drawing-room comedy Frou-frou by Meilhac-Halévy, both of which were highly successful on the London stage. She also had a two-year-long affair with Charles Haas, son of a banker and one of the most celebrated Paris dandies in the Empire, the model for the character of Swann in the novels by Marcel Proust. This program contained short films of many other famous French theatre stars of the day. She had the transparence of an azalea with even more delicacy, the lightness of a cloud with less thickness. However, looking at Sarah Bernhardt's role as Salome, there is a relevant shift in the way Jewish women are portrayed, and viewed throughout theatrical performances and art. She took part in a patriotic "scenic poem" by Eugène Morand, Les Cathédrales, playing the part of Strasbourg Cathedral; first, while seated, she recited a poem; then she hoisted herself up on her one leg, leaned against the arm of the chair, and declared "Weep, weep, Germany! When asked who his father was, she sometimes answered, "I could never make up my mind whether his father was Gambetta, Victor Hugo, or General Boulanger. She had leased and refurbished a theater, the Ambigu, specifically to give her husband leading roles, and made her 18-year-old son Maurice, who had no business experience, the manager. Sarah Bernhardt (c. October 22, 1844 – March 26, 1923) was a French stage and early film actress, and has been referred to as the most famous actress the world has ever known. We all loved each other. Between 1886 and 1922, she spent nearly every summer, the season when her theater was closed, on Belle-Île. [149] The inscription on her tombstone is the name "Bernhardt". [101] She turned once again to Sardou, who had written a new play for her, La Tosca, which featured a prolonged and extremely dramatic death scene at the end. --Julius Novick, The Forward-- Julius Novick ― The Forward "There's an amazing amount of information here, about an amazing woman. This was one of the earliest films by a celebrity inviting us into the home, and is again significant for the use it makes of contemporary art references in the mis-en-scene of the film. In June 1908, she made a 20-day tour of Britain and Ireland, performing in 16 different cities. The play they attended was Britannicus, by Jean Racine, followed by the classical comedy Amphitryon by Plautus. She is a natural and an incomparable artist. He was a very handsome actor who had served as a model for sculpture Eternal Springtime by Auguste Rodin. She went briefly to Spain, then, at the suggestion of Alexandre Dumas, to Belgium. "[157] However, she died just before the filming began. [217][218], In 2018 Roundabout Theatre Company produced Theresa Rebeck's play Bernhardt/Hamlet. "[42] Soon, however, with different plays and more experience, her performances improved; she was praised for her performance of Cordelia in King Lear. ", "Sarah Bernhardt: Goddess with a golden voice", "Sarah: The Life of Sarah Bernhardt by Robert Gottlieb", "Sarah Bernhardt in London, best of all possible Samaritans", "Filming Shakespeare With And Without Words In Settings Familiar And Unfamiliar", 18th–19th Century | National Museum of Women in the Arts, "International Women Sculptors: 1893 Exposition—P. Newspaper reports stated she died "peacefully, without suffering, in the arms of her son". [153] She also made Jeanne Doré in 1916. He was not a particularly good actor, and had a strong Dutch accent, but he was successful in roles such as Hippolyte in Phedre, where he could take off his shirt and show off his physique. Though a majority of the audience could not understand Racine's classical French, she captivated them with her voice and gestures; one member of the audience, Sir George Arthur, wrote that "she set every nerve and fiber in their bodies throbbing and held them spellbound. Based on the figure of Salome, Moreau created three famous paintings devoted to the subject, In which they attracted enormous crowds of more than 500,000 people. During her tour, she also gave performances for King Alfonso XII of Spain, and the Emperor Franz Joseph I of Austria. Bernhardt made use of an array of tropes assigned to women to create a public personality that afforded her freedom, independence, and immense popularity at home and abroad.”[221] Even her famous cross-dressing roles such as Hamlet intervened in the tension between the traditional woman and the New Woman. Alphonse Mucha would become one of the most sought-after artists of this time for his Art Nouveau style. [31] She decided abruptly to quit the theater to travel, and like her mother, to take on lovers. "In the theater," she declared, "the natural is good, but the sublime is even better. Her close friends included the painters Georges Clairin and Louise Abbéma (1853–1927), a French impressionist painter, some nine years her junior. She refused the idea of an artificial leg, crutches, or a wheelchair, and instead was usually carried in a palanquin she designed, supported by two long shafts and carried by two men. [39], To support herself after the birth of Maurice, Bernhardt played minor roles and understudies at the Port-Saint-Martin, a popular melodrama theater. [138] (see Motion pictures), She departed on her third farewell tour of the United States in 1913–1914, when she was 69. I can only imagine that she could play mothers..." Bernhardt was deeply offended and immediately broke off negotiations. [75], Bernhardt's first American tour carried her to 157 performances in 51 cities. The critic Sarcey wrote, "She has the sovereign grace, the penetrating charm, the I don't know what. “The Eternal Feminine” discussed advances of middle class and elite women in Brazil, citing expanding educational opportunities, acknowledging that women were capable of entering many new professions and industries that had previously been restricted to primarily men. While in London, she added to her personal menagerie of animals. Early in Bernhardt's career, she had an affair with a Belgian nobleman, Charles-Joseph Eugène Henri Georges Lamoral de Ligne (1837–1914), son of Eugène, 8th Prince of Ligne, with whom she bore her only child, Maurice Bernhardt (1864–1928). [181] Shortly before he died, Wilde wrote: "The three women I have most admired in my life are Sarah Bernhardt, Lily Langtry, and Queen Victoria. The facade was lit by 5,700 electric bulbs, 17 arc lights, and 11 projectors. She exhibited a 2-m-tall canvas, The Young Woman and Death, at the 1878 Paris Salon. [28] At a ceremony honoring the birthday of Molière on 15 January 1863, Bernhardt invited her younger sister, Regina, to accompany her. McCormick, John (1995). She wrote later that she also pitched her voice too high, and was unable to lower it. Morny proposed that Bernhardt should become an actress, an idea that horrified Bernhardt, as she had never been inside a theater. The 56-year-old actress studied the walk and posture of young cavalry officers and had her hair cut short to impersonate the young Duke. The issue divided Parisian society; a conservative newspaper ran the headline, "Sarah Bernhardt has joined the Jews against the Army", and Bernhardt's own son Maurice condemned Dreyfus; he refused to speak to her for a year. She did not create the role; the play had first been performed by Eugénie Dochein in 1852, but it quickly became her most performed and most famous role.
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