Playing to the Gods
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first performance of, 19
The Flame and, 22–23, 169–74, 176, 209
in Francesca da Rimini, 163, 167–68, 175, 177–78
in Ghosts, 236, 239
in La Gioconda, 163–64, 175, 177
heritage of, 13–18, 111–12
illnesses and injuries of, 29, 57–58, 61, 85–86, 88, 116, 143, 151, 177, 197, 202, 208, 228, 230, 234, 236, 240
jewelry worn by, 68, 148
in The Lady from the Sea, 233, 235, 238–39
legacy of, 242–43, 248
loneliness and isolation of, 19, 31, 68, 142, 175
in Magda, 119–23, 156, 178–79
marriage of, 7, 57–58, 63, 65, 67, 79, 104–5, 113, 140
mother’s death and, 50, 240
mysticism of, 8–9, 126, 128, 136, 151, 175, 238–39, 242
on objects, 19, 29
in Pamela, 79–80, 82
physical appearance of, 8, 52, 61–62, 106, 117, 123, 146, 151, 157, 176, 199–200, 206, 229, 235–36
popularity and fame of, 2, 6, 50, 53, 62, 65, 68, 84, 86, 88, 90–91, 113, 115, 135–36, 138–39, 169–70, 174–76, 206, 229, 234, 236, 238–40
posing of, 51, 111
pregnancies of, 55–56, 65
press relations of, 67, 108–10, 113, 117, 124, 140, 151, 175
reading of, 9, 19, 54, 133–34, 136, 175
romances and sexuality of, 7, 21–22, 54–58, 65, 67, 80–86, 88–89, 94, 104, 113, 118, 133–44, 146, 151, 156–59, 161–65, 170–75, 181, 197–99, 204–5, 209–10, 230
Roman villa of, 199
in Romeo and Juliet, 21–23, 47, 53
in Sad Loves, 86–88
in La Samaritaine, 147–48
in La Signora di Challant, 94, 103
son of, 56–58, 86, 197
spirituality of, 66, 68, 81, 125, 133, 147, 170, 198, 230, 235, 238
A Spring Morning’s Dream and, 144, 146, 152, 154–56, 163
as suicidal, 7, 57, 204
temporary retirement from stage of, 210–11, 215, 226–27, 229, 233–35
touring of, 6–7, 11, 18–19, 21–22, 49–53, 62–63, 65, 67–68, 71, 82, 84–91, 93, 105–17, 119–23, 125–26, 128–29, 133, 135–36, 138–39, 141–44, 163–64, 169, 174–79, 191–92, 197–98, 200, 202, 210, 237–40, 245–46
Tuscan villa of, 161–63, 172, 197, 204
unfinished autobiography of, 20
vocal talent of, 49–50, 68, 117
wartime activities of, 230, 233
Duse, Enrichetta Checchi, 58, 63, 79, 83, 163–64, 229–30, 232–34
Duse, Enrico, 18
Duse, Luigi “Gigi,” 14–17
Duse, Mario, 56–58, 86, 197
Duse Company (Compagnia Duse), 17–19, 49–50, 91
Dussane, Béatrix, 217–19, 226
Eaglet, The (L’Aiglon) (Rostand), 182–84, 187, 189–91, 217
Edison, Thomas, 73, 188
Edward VII, king of England, 223
Egypt, 84–86, 163
“Eleonora Duse” (Lowell), 176
Elizabeth, Queen of England, 214, 229, 231
Emanuele, Giovanni, 52–53, 55
Emerson, Ralph Waldo, 81, 207
Essex, Earl of, 214
Falstaff (Verdi), 88–89
Famous Players, 213
Fédora (Sardou), 70–71, 75, 194–95
Figaro, Le, 131, 151
Fiume, 237
Fizdale, Robert, 119, 124
Flame, The (d’Annunzio), 22–23, 169–74, 176, 209
Flaubert, Gustave, 87, 172
Fortune Teller, The, 226
fourchambault, Les (Augier), 51
Fourth Wall concept, 92, 248
Francesca da Rimini (d’Annunzio), 163, 166–69, 175, 177–78, 198
Franceschi, Emilio, 72
Francillon (Dumas), 114
Franco, James, 248
Franco-Prussian war, 43–45, 185, 190, 216, 220–21
Fressard, Madame, 31–36
Freud, Sigmund, 64, 66
Friedrich of Vienna, Archduke, 69
Fuller, Loie, 197
Ganzaria, Marchesa di, 85
Gardner, Isabella Stewart, 163
Gautier, Théophile, 47
Gest, Morris, 238
Ghosts (Ibsen), 236, 239
Giacosa, Giuseppe, 82, 86–88, 95, 103
Bernhardt’s relationship with, 94
Duse’s relationship with, 94, 118–19
Gielgud, Sir John, 222, 227
Gioconda, La (d’Annunzio), 162–64, 170, 175, 177
Giornale d’Italia, 168
Gish, Lillian, 238–39
Gismonda (Sardou), 100
gloria, La (d’Annunzio), 164, 166
Goethe, Johann Wolfgang von, 8, 189–90
Gold, Arthur, 119, 124
Goldoni, Carlo, 79–80, 82, 84, 117
Gordigiani, Giulietta, 141–42, 172, 209
Gorky, Maxim, 89
Gottlieb, Robert, 29–30
Gramatica, Emma, 200, 202
Gramatica, Irma, 200, 202–4
Griffith, D. W., 229–30, 239
Gritti, Giulia, 51
Guardian, the, 243
Guilbert, Yvette, 153
Hamlet (Shakespeare), 42, 47, 53, 132, 187–89, 191, 220, 222–23
Hancock Opera House, 193–94
Handbook of Theatrical Poses (Prontuario delle pose sceniche) (Morelli), 3–4
Hansson, Laura, 90, 104–5
Harvard University, 176
Hearst, William Randolph, 108
Hedda Gabler (Ibsen), 73, 198, 208
Hérelle, Georges, 139, 152, 171
Hoffman, Dustin, 246
Hofmannsthal, Hugo von, 107
House of Worth, 148, 206
Hugo, Victor, 18, 29, 31, 43, 190
Bernhardt’s relationship with, 45–46
Huret, Jules, 151
Ibsen, Henrik, 4, 73, 82, 115, 119, 138–39, 189, 197–98, 207–11, 233, 235–36, 238–39
A Doll’s House of, 103–7, 110, 208, 211
Ibsen, Sigurd, 210
Illustrazione Italiana, L’, 206
Impressionism, 72–73, 100
Inferno (Dante), 167
Inquisition, 194
Iorio’s Daughter (La figlia di Iorio) (d’Annunzio), 163, 198–205
Isis Unveiled (Blavatsky), 81
Izeyl and Prince Siddartha, 126–28, 147
J’Accuse (Zola), 184–85
James, Henry, 4, 9, 77, 109, 172
Jews, Judaism:
anti-Semitism and, 95, 184–86, 211
Bernhardt’s baptism and, 36
Bernhardt’s heritage and, 25, 33, 36, 47, 88, 95–96, 101, 108, 184–86, 190, 211
Dreyfus case and, 184–86, 190
Joan of Arc (Barbier), 73, 93–95, 201, 213
Joyce, James, 103, 172
Jung, Carl, 81
Kama Sutra, 135
Kansas City, Mo., 192, 238
Keith-Orpheum vaudeville circuit, 213
Kératry, Le Comte de, 41, 44–45
Krafft-Ebing, Richard von, 96
Kugel, Aleksandr, 91
Lady from the Sea, The (film), 233–35
Lady from the Sea, The (Ibsen), 211, 233, 235, 238–39
Larrey, Baron Hippolyte, 27–28
Le Gallienne, Eva, 18, 80, 110, 149, 165, 235, 246, 248
Lemaître, Jules, 4–5
Lenin, Vladimir, 237
Ligne, Prince de, 41
Lincoln, Abraham, 89
London, 27, 66, 97
Bernhardt’s trips to and performances in, 1–2, 5–6, 11, 46–47, 70–71, 85, 101, 117–18, 120–26, 187–88, 190, 212, 222
Duse’s trips to and performances in, 6, 11, 85, 115–23, 126, 134, 173
London Times, 121
Los Angeles, Calif., 216, 239
Los Angeles Daily Times, 239
Los Angeles Times, 225–26, 242
Lowell, Abbott, 176
Lowell, Amy, 176
Lugné, Aurélien-Marie (Lugné-Poë), 207–10
Lumière brothers, 188
Madame Bovary (Flaubert), 87
Madame Fressard’s School for Girls, 31–36
Madame Sarah (Agate), 214–15
Magda (Sudermann), 119–23, 156, 178–79
Manet, Edouard, 97
Manin, Daniele, 16
Mann, Thomas, 173
Mapes, Victor, 149–50
Marathon Man, 246
Margherita, queen of Italy, 156
Mari, Febo, 232–33
Marie Louise, Duchess, 184
Marquet, Mary, 226
Marthe (Duse’s traveling companion), 85
Masks or Faces? (Archer), 10
Master Builder, The (Ibsen), 208
Max, Edouard de, 101
Mefistofele (Boito), 80
Mémoires de Sarah Barnum, Les (Colombier), 37, 192
Mendelssohn, Felix, 142
Mendelssohn, Robi, 142, 203, 205, 209, 234
Mendès, Catulle, 71, 211–12, 220
mères ennemies, Les (Mendès), 71
Method Acting, 11, 91, 245–46, 248
Metropolitan Opera House (Met), 178, 191, 238
Meusnier, Mathieu, 72
Michelangelo, 162
Milan, 79–80, 84, 203, 205–6
Miller, Arthur, 198
Mirandolina (Goldoni), 84
Misérables, Les (Hugo), 18, 29, 190
Molière, 10, 31, 40, 82, 119, 189
Monet, Claude, 1, 73
Montesquiou, Count Robert de, 145–48, 150, 155
Morelli, Alamanno, 3–4
Moreno, Marguerite, 195
Morisani, Dr., 88
Morny, Duc de, 27, 36–39
Moscow, 66, 89, 91–92, 94–95, 105–6, 143, 238
Mounet-Sully, Jean, 47–48
Mower, Margaret, 221–22
Mozart, Wolfgang Amadeus, 9
Mucha, Alphonse, 5, 96, 99–100
Mussolini, Benito, 137, 164, 237, 239–42
My Double Life (Bernhardt), 27–28, 30–32, 35, 38, 40, 44, 228, 242
Naples, 7, 56, 58, 65, 68, 145, 242
Duse’s trips to and performances in, 51–55, 57, 199
Napoleon I, emperor of France, 25, 28, 182–84, 190, 194, 214
Napoleon II, emperor of France, 182–84, 189–91
Napoleon III, emperor of France, 25–27, 36, 43–45, 47, 181
Napoleonic Wars, 181–82, 184
Nathalie, Madame, 40, 46
Nathan, George Jean, 222
Nation, The, 221
New Republic, 135
New York, 70, 99, 128, 199, 247
Bernhardt’s trips to and performances in, 93–95, 110, 113, 125–27, 191
Duse’s death and, 240, 242
Duse’s trips to and performances in, 108–12, 114–15, 125, 175, 177–79, 237–38, 245–46
New York Dramatic Mirror, 105, 112
New York Evening Post, 177
New York Evening Sun, 112–13
New York Herald, 115
New York Times, 76, 90, 93, 95, 110–11, 126–27, 154, 157, 177, 179, 189, 193, 238, 242, 248
New York World, 114
Nielsen, Alice, 199–200, 248
Nobel, Alfred, 103
Novoye Vremya, 90
Ojetti, Ugo, 157–59, 206
Olivier, Sir Laurence, 246
Olympia (Manet), 97
Opinione, l’, 63–64
Opposites, Principle of, 92
Otello (Verdi), 79, 82, 86
“Over-Soul, The” (Emerson), 81
Pamela (Goldoni), 79–80
Paradox of Acting, The (Diderot), 10, 118
Paris, 10, 25–28, 31, 56, 71–73, 75, 85–86, 91, 97, 99–101, 174, 185, 206, 217–18
Bernhardt’s death and, 225–26
Bernhardt’s performances in, 35, 37, 39, 43, 45–46, 100–101, 118–19, 127, 129–30, 139, 143–44, 147, 153–54, 159, 166, 186–88, 190–91, 203, 211
Duse-Bernhardt meetings in, 145–47
Duse’s trips to and performances in, 118, 139, 142, 144–56, 161, 202, 207–8
Sarah Bernhardt Day in, 131–32
in wartime, 43–44, 215, 229
Passant, Le (Coppée), 42–43, 46, 71, 76, 187
Pastrone, Giovanni, 231
Pathé, 225
Peer Gynt (Ibsen), 208
Perrin, Émile, 76
Petrarca, Francesco (Petrarch), 13–14
Pezzana, Giacinta, 52–53, 55, 57, 199
Pezzana, Luigi, 51–52
Phèdre (Racine), 46–48, 101–2, 110–11, 132, 155
Philadelphia, Pa., 108, 222
Piggot, Edward F. Smyth, 97
Pirandello, Luigi, 3, 168–69, 189
Pittsburgh, Pa., 240
Playbill, 111
Poe, Edgar Allan, 139, 207
Porte Saint-Martin, 76
Pozzi, Samuel, 216
Praga, Marco, 82, 240
Primoli, Count Giuseppe, 24, 64, 139, 145–46, 157–58
Proust, Marcel, 31, 101, 146, 172
Psychopathia Sexualis (Krafft-Ebing), 96
Puccini, Giacomo, 3, 168, 194
Pulitzer, Joseph, 108
Queens of the Theatre (Dussane), 217–19
Quintilian, 10–11, 246
Rachel, Mademoiselle, 47–48, 66, 69
Racine, Jean, 32, 46–48, 100–102, 110–11, 132, 155, 189
Raynaud, Ernest, 153
Régis, Monsieur, 37–38
Regnier, François, 47
Réjane, Gabrielle, 216
Remembrance of Things Past (Proust), 101, 146
Revue de Paris, La, 145, 152
Revue Illustrée, 101
Ristori, Adelaide, 48, 51, 66, 68–69, 93, 168–69, 171
Ritz, César, 1–2, 5–6
Robins, Elizabeth, 187
Rolland, Romain, 169
Rome, 13, 26, 75, 166, 229, 231
Duse’s death and, 242
Duse’s trips to and performances in, 64–66, 135, 143, 156–57, 168–69, 199, 235–37
Romeo and Juliet (Shakespeare), 21–24, 47, 49, 53–54
Rosenfield, Carl and Theodor, 108–9
Rossi, Cesare, 55–58, 63, 116
Rossi Company, 62–63, 79
Rostand, Edmond, 73, 82, 131–32, 147–48, 153, 223
Bernhardt’s relationship with, 181–84, 194
The Eaglet of, 182–84, 187, 189–91, 217
Ruggeri, Ruggero, 203
Rules for Actors (Goethe), 8
Ruy Blas (Hugo), 45–46
Sad Loves (Tristi amori) (Giacosa), 86–88
Sainte-Sophie, Mother, 34–35, 215
Salomé (Wilde), 46, 97–98, 207
Samaritaine, La (Rostand), 147–48
Sand, George, 15
San Francisco Call, 114
Sarah Bernhardt Day, 131–32
Sarcey, Francisque, 39, 46, 101, 150–51, 155–56
Sardou, Victorien, 73–77, 82, 84, 100, 144, 190, 198, 203, 217
Fédora of, 70–71, 75, 194–95
Sargent, John Singer, 216
Saturday Review, 124
Savoy, 1–2, 5–6, 173
Scala, La, 79
Scarfoglio, Edoardo, 158–59
Schallert, Edwin, 239
Schlenther, Paul, 109
Schuler, Catherine, 91
Schürmann, José, 61–62, 125, 128–29, 138, 141, 145, 170, 174
Serao, Matilde, 55, 57–58, 68, 145, 157–59, 203–4
Shakespeare, William, 103, 154, 187–91
Antony and Cleopatra of, 82–85, 90–91, 95, 142
Hamlet of, 42, 47, 53, 132, 187–89, 191, 220, 222–23
Romeo and Juliet of 21–24, 47, 49, 53–54
Shaw, George Bernard, 75, 104, 121–24
Sheehy, Helen, 133
Sibour, Monseigneur, 35–37
Signora di Challant, La (Giacosa), 94–95, 103
Simoni, Renato, 235
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Six Modern Women (Hansson), 104–5
Smith, Joseph, 174, 178
Sorceress, The (La Sorcière) (Sardou), 194–95, 198, 203
Sous les étoiles (Lugné), 208
Spain, 27, 66, 86, 90, 99, 194
Bernhardt’s trips to and performances in, 69, 211
Spring Morning’s Dream, A (d’Annunzio), 144, 146, 152, 154–56, 162–63
Stanislavski, Konstantin, 11, 66, 91–92, 94–95, 238, 246, 248
Stoker, Bram, 70
Stokes, John, 102
Strasberg, Lee, 245–46
Stritch, Elaine, 247
Sudermann, Hermann, 73, 119–23, 138, 156, 178–79
Suvorin, Alexey, 90
Symons, Arthur, 135
Talli, Virgilio, 202
Tänczer, 107–8
Teasdale, Sara, 241
Teatro Carignano, 55, 58, 61, 227
Teatro Costanzi, 168
Teatro dei Fiorentini, 53
Teatro Duse, 14, 16, 186
Teatro Lirico, 203, 205
Teatro Valle, 66, 156
Temps, Le, 150
Terry, Ellen, 74, 93, 95
Tesla, Nikola, 128
Texas, 192–94
Théâtre, Le, 76–77
Théâtre de L’Ambigu, 71
Théâtre de la Renaissance, 100, 102, 118, 145, 147–48, 150–51, 158, 186
Théâtre de l’Œuvre, 207–8
Théâtre des Armées, 217–19
Théâtre des Nations, 186
Theatre Magazine, 192
Théâtre Odéon, 42, 44, 76, 221
Théâtre Sarah Bernhardt, 186–87
Theatrical World, 83–84
Théodora (Sardou), 75–77, 84, 194
Tiffany, Louis, 99
Time, 13n, 237
Times of London, 98
Tolstoy, Leo, 89, 103
Tosca, La (film), 231
Tosca, La (Sardou), 194, 217
Tosco (Puccini), 168
To The Battlefield (Aux champs d’honneur) (Bernhardt), 221–22
Toulouse-Lautrec, Henri de, 99, 153, 197
Tremont Theater, 176
Triumph of Death, The (Il trionfo della morte) (d’Annunzio), 134, 136
Turgenev, Ivan, 73, 88–89
Turin, 19–20
Bernhardt’s trips to and performances in, 60–61, 71, 227, 245
Duse’s trips to and performances in, 54–55, 57, 61, 71, 87–88, 94, 227, 245
Tuscany, 20, 42, 56–57, 177
Duse’s villa in, 161–63, 172, 197, 204
Twain, Mark, 107–8
Tyler, George, 174–76, 178, 192–93
Venice, 13, 16–17, 68, 105, 134, 166, 173, 235
Duse’s trips to, 88, 136–37
Verdi, Giuseppe, 79–80, 82, 86, 88–89, 230
verismo, 11, 94, 116, 118, 201
Verneuil, Louis, 184–85, 227
Verona, 21–24, 47, 49–50, 53
Victoria, queen of England, 48, 117, 223
Vienna, 66, 184
Bernhardt’s trips to and performances in, 182–83