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Sarah Bernhardt.
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One of the first great "stars" of the world stage, Sarah Bernhardt, known as "The Divine Sarah" (1844-1923), dominated the theatrical scenes of both Europe and America for over half a century. In addi...
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In the following essay, originally published in 1895, Shaw contrasts performances of Bernhardt with those of Italian actress Eleonora Duse.
Mr William Archer's defence of the dramatic critics a...
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In the following essay, Agate offers a critical assessment of Bernhardt's body of work on the occasion of her death.
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For some whose business it is to write of the theatre it is as though Beau...
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In the following essay, Baring provides an overview of Bernhardt's career.
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"Sans doute il est trop tard pour parler encor d'elle. " So Alfred de Musset began his beautifu...
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In the following essay, Harris eulogizes Bernhardt and provides a personal recollection of her.
Sarah, la divine, as the French called her, is dead, and the authorities have given her a gorgeous funer...
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In the following essay Woolcott eulogizes Bernhardt and remembers his last encounters with her.
It was to "pauvre Rachel" that Bernhardt's thoughts flew as her boat pulled away fr...
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In the following essay, Walkley contrasts the Bernhardt he knew with the "legend" of Bernhardt.
We say Sarah as our forefathers said Rachel. It is a tribute to greatness, as you call a p...
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In the following essay Bradford surveys Bernhardt's life and works.
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Sarah Bernhardt's superbly characteristic motto was, Quand même—Even if—What if it does—No...
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In the following essay, Bradbrook examines Bernhardt' s social and artistic standing in Paris during her time.
At the service of thanksgiving for 'the greatest actress whom I have called...
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In the following essay, Trewin discusses London's reaction to Bernhardt and her reaction to the city.
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I would like to move selectively across Sarah's visits to a city that—in sp...
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In the following essay, Senelick discusses Bernhardt's acceptance by critics and Anton Chekhov's opinion of the actress.'
Biographers of Sarah Bernhardt spend little time on her t...
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In the following essay, Woods analyzes Bernhardt's roles on the American vaudeville stage, contending that her portrayals of complex and conflicted women produced a significant marriage of high...
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In the following essay, originally published in 1899, Beerbohm finds Bernhardt's Hamlet to be a comic spectacle and takes issue with the French prose translation of the play.
I cannot, on my he...
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In the following essay, Taranow provides a critical overview of the literary and theatrical influences and historical background of Bernhardt's Hamlet.
Following the première of May 20, 18...
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In the following essay, Howells offers a negative review of Bernhardt's Hamlet, arguing that a woman in the title role is a perversion of the integrity of the drama.
The other night as I sat be...
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In the following essay, originally published in 1904, Beerbohm praises Bernhardt's later work, considering her an important cultural institution in her older age.
It is our instinct to revere o...
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In the following essay, the anonymous reviewer praises Bernhardt's Memories of My Life, noting that it deftly portrays the actress, but adds that the memoir adds little to common knowledge of B...
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In the following essay, originally published in 1907, Beerbohm praises the skill with which Bernhardt wrote her Memoirs of Sarah Bernhardt, noting, however, that it was typical of Bernhardt to practic...
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In the following essay, Bettany praises My Double Life: Memoirs of Sarah Bernhardt, but adds that the book contributes no new information on Bernhardt' s life.
Their serial publication in the F...
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In the following essay, Agate reflects on Bernhardt's body of work and popular reaction to her.
Those who like myself have cherished a feeling for the actor's art akin to reverence must ...
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In the following essay, originally published in 1923, Strachey comments on Bernhardt's natural genius for acting, noting that she did not necessarily understand either great drama or the craft ...
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Sarah Bernhardt
Critical Essay by George Bernard Shaw
