SARAH BERNHARDT-THE

WOMAN.
AN INTERVIEW IN NEW YORK.
A lady reporter of the "New York
World"' interviewed Sarah Bernhardt on her arrival in America. We give some portions:
R: It was a mall, confidential elevator, hidden away from the pretentious spaces of the Hotel
Savoy, and it landed us in a narrow hall choked with black trunk, blankets, and other
untidinesses. Thread-ing this litter, we arrived at a door. When opened it released to our ears a
vehement babel of French in what seemed like the voices of several persons.
The friend of Mme Bernhardt, who ac-companied me, having put in MB head, drew back to
usher me in. The babel died away, and I advanced boldly into what I imagined was an anteroom.
But there waa Mme. Bernhardt.
In a flash all the details of the apart-ment marshalled themselves subserviently to the centre of
the composition.
And what was the secret of this power of a woman to dominate her surrounding, animate as
well as inanimate? It was not manner. There was not a trace of the grandiose about Mme.
Bernhardt, not a hint that she expected her visitors to regard her as a person of importance. The
smile with which she responded to my introduction was kind, encouraging, and at the ame time
appealing. Her
SB: Bonjour,monsieur ,
R: was an expression of warmth of heart. Her handshake. Ah. her handshake is worth a
paragraph all to itself. In grasping my hand she held her own close to her side, and the action
was one of pulling me gently to-ward her. It is a work of genius.
Having shaken hands she pulled up chairs for us, and remained for a moment standing to
scrutinise a card which had just been handed to her.
She tucked her feet away beneath the chair, and this directed her knees at a downward angle,
emphasising the great lsugth of her lower limbs.
Her hair where the light caught it was threaded with the hues of a maple in October
I plunged into my questioning without delay.
Ms. Bernhardt, why dont you give me and our readers a little taste of your life, where you are
from and what not.

SB: I was born in Paris as Rosine Bernardt but later changed my first name to Sarah and
added the H to my last name. My mother sent me to a convent school near Versailles and I later
attended the Paris Conservatory, and then the Comdie-Franaise. This is where my acting
training and stage debut came on Aug 11 1862. She played the title role in Racines Iphigenie.

R: I heard a rumor, Mademoiselle, that you were asked to leave the Comedie-Francaise? Are
these rumors accurate?

SB: Unfortunately yes. I was asked to leave the Codemie-Francaise after I slapped another
actress across her face for shoving my younger sister during a birthday party for my friend
Moliere.
After being expelled I went to work as a courtesan and I acquired my famous coffin in which I
often sleep in because doing so helps me understand my many tragic roles.
I left France and went to Belgium where I met Prince de Ligne, and became pregnant with our
son Maurice. After the birth of our son, he proposed marriage, but his family wouldnt let it
happen because I wasnt of any royal background, and so our relationship ended.
R: Im so sorry to hear that. Where did you go from there? How did you blossom into the actress
we all know you as today?
SB: After my short break from the theatre, I received a contract with Thtre de LOdon in
1866. Actually when the Franco-Prussian War broke out, I converted the theatre into a makeshift
hospital where I treated the wounded inside. In the 1870s though, my career really began to
take off. I went on tour in the US and Canada, and later toured South America and the South
Pacific. Actually y 1914 I was making my 9th American tour!
R: Wow! What about when you arent being a world traveler?
SB: Well took over the Theatre de la Renaissance, and was the producer, director and star from
1893-1899. From there I took over the Theatre Des Nations and renamed it the Theatre
Sarah Bernhardt.
R: That was where you played one of your more controversial roles correct?

SB: Yes. On in may of 1899, I premiered in the title role in Hamlet. It was controversial
decision on my part, but ultimately I was, of course, met with rave reviews.
R: Soon after that you had a life altering event, did you not?
SB: Why yes, if you are referring to my injuring. I was jumping on stage in Rio de
Janeiro and injured my knee. I continued my career, but by 1915 I needed to have my
leg amputated.
R: Now for most people that would have been, a career halting injury, but not for you?

SB: Of course not! I continued my career for many years, using a wooden prosthetic
limb, which I am not a huge fan of. I even went on to do a successful American tour in
1915.
R: Now, not only did you have a thriving theatrical career, but you were a pioneer in the
silent film world.
SB: Yes I made my film debut in my most controversial role, Hamlet, in the two-minute
long film Le Duel dHamlet
I went on to star in 10 films in all. These included Sarah Bernhardt Belle-Isle (1912), a
film about my daily life at home.
R: What would you say you want your legacy to be after your death?
- Foremost actress of the Victorian Era.
- First International Icon, known all over the world.
- Admirers like Makr Twain, Russian Czars and Sigmund Freud, who kept a picture of
her on his desk.
R: finally madamoiselle.Is it possible, Mme. Bernhardt, to do anything great in art without
having ex-perienced a great love?"
Without an instant's hesitation she re-turned the very answer I had not expected. With an
upward gesture of the left hand she exclaimed.
SB: Oh, yes; in art all things are possible. Experience is not essential ; one mast have the
imagination. To pourtray the passions one does not have to live the reality. An artist must be
able to express all with truth, because within himself he has the understanding and the capacity
for all - he is capable of them all.