Her current lover, Philippe Garnier, saw him and beat him. [140], In December 1913, Bernhardt performed another success with the drama Jeanne Doré. Bernhardt was undaunted, however, and went crocodile hunting at Guayaquil, and also bought more animals for her menagerie. The Coffin Dance (Italo Dance MIx) Amos DJ. These are American rates, and I don't have to cross the Atlantic! ", "Sarah Bernhardt: Goddess with a golden voice", "Sarah: The Life of Sarah Bernhardt by Robert Gottlieb", "Ultra-Orthodox Jewish women performing gender in Julius Caesar", "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. [128], 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. "[174] She also suffered, particularly early in her career, bouts of memory loss and stage fright. And yet I can remember the smallest events from my childhood. [15], In 1859, Bernhardt learned that her father had died overseas. Her dressing room was a five-room suite, which, after the success of her Napoleonic play L'Aiglon, was decorated in Empire Style, featuring a marble fireplace with a fire Bernhardt kept burning year round, a huge bathtub that was filled with the flowers she received after each performance, and a dining room fitting 12 people, where she entertained guests after the final curtain. The critic Francisque Sarcey wrote simply, "he makes us feel sick." In 1876, Bernhardt constructed a large townhouse at 35 rue Fortuny in the 17th arrondissement, not far from Parc Monceau, for her family, servants, and animals. The play went ahead, but was a failure. Rostand went on to write Cyrano de Bergerac and became one of the most popular French playwrights of the period. "If I catch sight of my hand, it will be the hand of Cleopatra. In Kiev and Odessa, she encountered anti-Semitic crowds who threw stones at her; pogroms were being conducted, forcing the Jewish population to leave. When Bernhardt returned to France, she brought with her a chest filled with $194,000 in gold coins. She played the male lead role, but appeared in just two acts. [211][212] However, a 1923 biography of Bernhardt noted that she consumed fish and in her older years favoured Gruyère or Pont-l'Évêque cheese.[213]. [134] In 1909, she again played the 19-year-old Joan of Arc in Le Procès de Jeanne d'Arc by Émile Moreau. [3][4][5][6] The name of her father is not recorded. "[179][180][181] Russian dramatist Anton Chekhov, then a young medical student, was paying for his studies by writing reviews for a Moscow newspaper. 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. It was the element, she wrote, which connected the artist with the audience. She looked for additional ways to earn money. "[26], Bernhardt did not remain long with the Comédie-Française. Afterwards, the Emperor sent her a brooch with his initials written in diamonds. Give us Hugo!". During the performance, she went on stage, but could not remember what she was supposed to say. In 1887, she acted in a stage version of the controversial drama Thérèse Raquin by Emile Zola. Born: Memphis, TN. Along with Emile Zola and Victorien Sardou, Bernhardt also became an outspoken defender of Alfred Dreyfus, a Jewish army officer falsely accused of betraying France. Famous Smoke is a secure retailer of the finest cigars online at the web's best prices. Her performance as Hamlet represented a style of cross gender casting, opening up new avenues in which females had access to roles formerly preserved for men. On this tour, she traveled with Constant Coquelin, then the most popular leading man in France. On the eve of departure, she told a French reporter: "I passionately love this life of adventures. 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. I'm waiting until Christians become better. [160], Her passion for sculpture was more serious. Although she was welcomed by theater-goers, she was entirely ignored by New York high society, who considered her personal life scandalous. Her paintings were mostly landscapes and seascapes, with many painted at Belle-Île. Rodin dismissed her sculptures as "old-fashioned tripe", and she was attacked in the press for pursuing an activity inappropriate for an actress. He wept when she refused. The success of the play allowed Bernhardt to buy a new pet lion for her household menagerie. Both girls died in the hospice in Le Havre a month later. Hugo himself was in the audience. by Todaysoon December 10, 2020 0 7. [167] She set up a studio at 11 boulevard de Clichy in Montmartre, where she frequently entertained her guests dressed in her sculptor's outfit, including white satin blouse and white silk trousers. Her first performances with the theater were not successful. Without interrupting her speech, she added "If someone doesn't close that door I will catch pneumonia." This was produced by Le Film d’Art and directed by André Calmettes from the play by Victorien Sardou. At those rates, I'm ready to appear in any films they make. 312K likes. 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." L'Aiglon was a verse drama, six acts long. She had made her son Maurice the director of her new theater, and permitted him to use the receipts of the theater to pay his gambling debts, eventually forcing her to pawn some of her jewels to pay her bills. In 1878, during the Paris Universal Exposition, she took a flight over Paris with balloonist Pierre Giffard and painter George Clairin, in a balloon decorated with the name of her current character, Dona Sol. 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. In April 1843, she gave birth to twin girls to a "father unknown." Her lover in the play was her lover off-stage, as well, Mounet-Sully. [12] She received her first communion as a Roman Catholic in 1856, and thereafter she was fervently religious. The Chip and Cookie brand is owned by Amos, and has a slightly different recipe than the one used by Kellogg's. [165] In 1880, she made an Art Nouveau decorative bronze inkwell, a self-portrait with bat wings and a fish tail,[166] possibly inspired by her 1874 performance in Le Sphinx. He was a very handsome actor who had served as a model for sculpture Eternal Springtime by Auguste Rodin. Bernhardt wrote that she was "confused, sorry, and delighted—because he loved me the way people love in plays at the theater. [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. Zola had previously been attacked due to the book's confronting content. In early 1866, she obtained a reading with Felix Duquesnel, director of the Théâtre de L’Odéon (Odéon) on the Left Bank. In 1885, in homage to Victor Hugo, who had died a few months earlier, she staged one of his older plays, Marion Delorme, written in 1831, but the play was outdated and her role did not give her a chance to show her talents. For a voice to be fully complete, she wrote, "It is necessary that it be very slightly nasal. [154] She also made Jeanne Doré in 1916. [46] Critic Theophile Gautier described the "delicate and tender charm" of her performance. Fédora ran for just 50 performances and lost 400,000 francs. The syndicate did not allow outside producers to use their stages. [195] His new wife did not get along with the children from his earlier marriage. [32] Her next role at the Gymnase, as a foolish Russian princess, was entirely unsuited for her; her mother told her that her performance was "ridiculous". He announced that the theater would reopen in October 1871, and he asked her to play the lead in a new play, Jean-Marie by André Theuriet. Sardou wrote a nonhistoric but dramatic new death scene for Bernhardt; in his version, the empress was publicly strangled, whereas the historical empress died of cancer. Bernhardt was diagnosed with uremia, and had to have an emergency kidney operation. During her time at the Odeon, she continued to see her old lovers, as well as new ones including French marshals François-Certain Canrobert and Achille Bazaine, the latter a commander of the French army in the Crimean War and in Mexico; and Prince Napoleon, son of Joseph Bonaparte and cousin of French Emperor Louis-Napoleon. By the end of the siege, Bernhardt's hospital had cared for more than 150 wounded soldiers, including a young undergraduate from the École Polytechnique, Ferdinand Foch, who later commanded the Allied armies in the First World War.[54]. Furthermore, the parts assigned for her performance were classical and required carefully stylized emotions, while she preferred romanticism and fully and naturally expressing her emotions. [114], At the Théâtre de la Renaissance, Bernhardt staged and performed in several modern plays, but she was not a follower of the more natural school of acting that was coming into fashion at the end of the 19th century, preferring a more dramatic expression of emotions. (see Personal life), When she returned to Paris, she was offered a new role in Fédora, a melodrama written for her by Victorien Sardou. Sarah Bernhardt had played many roles within her lifetime, one of those being the role of Hamlet. She performed for the first time La Dame aux Camélias, by Alexandre Dumas, fils. The teachers ranked her 14th in tragedy and second in comedy. Bernhardt had already been scheduled for a new role with the theater, and had begun rehearsals. In 1898, she had another success, in the play Lorenzaccio, playing the male lead role in a Renaissance revenge drama written in 1834 by Alfred de Musset, but never before actually staged. "[42], Her breakthrough performance was in the 1868 revival of Kean by Alexandre Dumas, in which she played the female lead part of Anna Danby. The play and Richepin's acting were poor, and it quickly closed. 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. [citation needed], Wally Amos has created another brand of cookie called "Chip and Cookie", named after two characters he created in the 1980s. "[26] Francisque Sarcey, the influential theater critic of L'Opinion Nationale and Le Temps, wrote: "she carries herself well and pronounces with perfect precision. Eusebioghf. 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. 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. Once, she was seriously ill before a performance of L'Etrangére at the Gaiety Theater in London, and the doctor gave her a dose of painkiller, either opium or morphine. [64] When Perrin read in the press about the private performances, he was furious. "[178] Ivan Turgenev wrote: "All she has is a marvelous voice. "[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. [57] Bernhardt asked Chilly if he would match the offer, but he refused. One such guest, French author Colette, described being served coffee by Bernhardt: "The delicate and withered hand offering the brimming cup, the flowery azure of the eyes, so young still in their network of fine lines, the questioning and mocking coquetry of the tilted head, and that indescribable desire to charm, to charm still, to charm right up to the gates of death itself. She recuperated in Long Beach, California, for several months, writing short stories and novellas for publication in French magazines. The theater offered women an environment relatively free of social constraints. She landed on her right knee, which had already been damaged in earlier tours. Until the end of her life, she continued to sign official documents as "Sarah Bernhardt, widow of Damala". For realism, she painted the palms of her hands red, though they could hardly be seen from the audience. "[144], She returned to Paris in 1916 and made two short films on patriotic themes, one based on the story of Joan of Arc, the other called Mothers of France. Arriving in St. Petersburg, Bernhardt invited Damala to give up his diplomatic post to become an actor in her company, as well as her lover, and before long, they decided to marry. He told her, "I can forgive you, and you'll eventually forgive yourself, but Racine in his grave never will. Another actress present at the event, Beatrix Dussanne, described her performance: "The miracle again took place; Sarah, old, mutilated, once more illuminated a crowd by the rays of her genius. Amos himself was pictured on these packages, wearing his trademark straw hat and cotton shirt.[12]. An unexpected storm carried the balloon far outside of Paris to a small town. She played the role more than a thousand times, and acted regularly and successfully in it until the end of her life. [156] To make the film more appealing, Zukor had the film print hand-tinted, making it one of the first color films. 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. "[19] Dumas coached her. 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 built bungalows for her son Maurice and her grandchildren, and bungalows with studios for her close friends, the painters Georges Clairin and Louise Abbéma. Part of Wally Amos's biography is featured on the back of the newest packages. "[188] In February 1914, she presented a reconstituted birth certificate, which stated that her legitimate father was one Édouard Bernhardt. [93] Richepin then wrote an adaptation of Macbeth in French, with Bernhardt as Lady Macbeth, but it was also a failure. To quote the article Sarah Barnhardt's Knee; “In an era of debate about gender norms, Bernhardt’s star image presented a similar fantasy scenario that fulfilled a need on the part of her public for unity, resolution, and reassurance. Few in the audience understood French, but it was not necessary; her gestures and voice captivated the audience, and she received a thunderous ovation. During a break in the tour, they were married on 4 April 1882 in London. [103] She then performed another traditional melodrama, Francillon by Alexandre Dumas, fils in 1888. The co-director of the theater for finance, Charles de Chilly, wanted to reject her as unreliable and too thin, but Duquesnel was enchanted; he hired her for the theater at a modest salary of 150 francs a month, which he paid out of his own pocket. [79] She performed Phèdre six times and La Dame Aux Camélias 65 times (which Jarrett had renamed "Camille" to make it easier for Americans to pronounce, despite the fact that no character in the play has that name). French newspapers encouraged schoolchildren to view her personification of French patriotism. “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. As a result, in Texas and Kansas City, Bernhardt and her company performed under an enormous circus tent, seating 4,500 spectators, and in skating rinks in Atlanta, Savannah, Tampa, and other cities. Damala began taking large quantities of morphine, and following Bernhardt's great success in Fedora, Damala took every opportunity to criticize and humiliate her. [212] In 1913, The Literary Digest reported that she became vegetarian to lose weight and regain her figure. [16] Her mother summoned a family council, including Morny, to decide what to do with her. "[22], Before the first examination for her tragedy class, she tried to straighten her abundance of frizzy hair, which made it even more uncontrollable, and came down with a bad cold, which made her voice so nasal that she hardly recognized it. It kept its name until the occupation of Paris by the Germans in World War II,[216] when, because of Bernhardt's Jewish ancestry, the name was changed to Théâtre de la Cité. She died from uremia on the evening of 26 March 1923. She often worked as a courtesan, taking wealthy and influential lovers. he'll do it. The influential critic Sarcey wrote "... she charmed her audience like a little Orpheus. Her next success was another melodrama by Sardou and Moreau, Cleopatra, which allowed her to wear elaborate costumes and finished with a memorable death scene. American actor who became known for his role on the television show, Sanford and Son, which aired from 1972 to 1977. She responded, "I know I'm bad, but not as bad as your lines." [44], Her next success was her performance in François Coppée's Le Passant, which premiered at the Odéon on 14 January 1868,[45] playing the part of the boy troubadour, Zanetto, in a romantic renaissance tale. The French government signed an armistice on 19 January 1871, and Bernhardt learned that her son and family had been moved to Hamburg. The two leading actors both fell ill with yellow fever, and her long-time manager, Edward Jarrett, died of a heart attack. She exhibited a 2-m-tall canvas, The Young Woman and Death, at the 1878 Paris Salon. Smoke from a burning paper describes her more nearly."[184]. [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. [202], Bernhardt's broad circle of friends included the writers Victor Hugo, Alexandre Dumas, his son Alexandre Dumas, fils, Emile Zola, and the artist Gustave Doré. [145], 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. She returned to Paris, where she found that her mother was better, but that she herself was pregnant from her affair with the Prince. High School: Northside High School. [218][219], In 2018 Roundabout Theatre Company produced Theresa Rebeck's play Bernhardt/Hamlet. Bernhardt was able to buy an even larger residence, with two salons and a large dining room, at 4 rue de Rome. 1", "Ma double vie : mémoires / de Sarah Bernhardt", "Hollywood Walk of Fame – Sarah Bernhardt", "Bernhardt/Hamlet – Broadway Play – Original", "The Tony Award nominees were revealed and there were some surprising snubs", My Double Life: Memoirs of Sarah Bernhardt, Cylinder Preservation and Digitization Project, Dangerous Women Project: Celebrating Transgressive Celebrity, Sarah Bernhardt at the Literary Encyclopaedia, Columbia University Women Film Pioneers Project, 1914-1918-online. Between 1886 and 1922, she spent nearly every summer, the season when her theater was closed, on Belle-Île. [154], Bernhardt was also the subject and star of two documentaries, including Sarah Bernhardt à Belle-Isle (1915), a film about her daily life at home. After the tour, she brought back a trunk filled with 3,500,000 francs, but she also suffered a painful injury to her knee when she leaped off the parapet of the Castello Sant' Angelo in La Tosca. According to these versions, he learned her address from the theater, arrived in Paris, and moved into the apartment with Bernhardt. While in London, she added to her personal menagerie of animals. That year the Shansby Group purchased Famous Amos for $3 million. [. [73] In six of the eight plays in her repertoire, she died dramatically in the final act. This quality was persistently foregrounded in the multiple representations of her proliferating in art, caricature, and photography. As her biographer Cornelia Otis Skinner wrote, she did not try to be overly masculine when she performed male roles: "Her male impersonations had the sexless grace of the voices of choirboys, or the not quite real pathos of Pierrot. 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