Note 36 — SARAH BERNHARDT

Mme. Bernhardt’s more important productions, since she became a manager in her own right, have been as follows: Fédora, 1882; Nana Sahib, 1883; Macbeth, Théodora, 1884; Marion Delorme, 1885; Hamlet (Ophelia), Le Maître des Forges, 1886; La Tosca, 1887; Francillon, 1888; Lena, 1889; Jeanne d’Arc, Cléopâtre, 1890; Pauline Blanchard, La Dame de Chalant, 1891; Les Rois, 1893; Izeïl, Gismonda, 1894; Magda, La Princesse Lointaine, 1895; Lorenzaccio, 1896; Spiritisme, La Samaritaine, Les Mauvais Bergers, 1897; La Ville Morte, Lysiane, Médée, 1898; Hamlet, 1899; L’Aiglon, 1900; Francesca da Rimini, 1902; Andromache, 1903; La Sorcière, 1904; Tisbe, Angelo, 1905; La Vierge d’Avila, 1906; Les Bouffons, 1907; La Belle au Bois Dormant, La Courtisane de Corinthe, 1908; Le Proces de Jeanne d’Arc, 1909; La Femme X, Judas, Le Coeur d’Homme (written by herself), La Beffa, 1910; La Reine Élisabeth, Une Nuit de Noel, 1912; Jeanne Doré, 1913.

To the plays she had acted during the first American tour, 1880–81, (see page 28, note) she added, on her subsequent visits: 1887, Fédora, Le Maître des Forges, Théodora; 1891, La Tosca, Cléopatra; 1891–92, Jeanne d’Arc, La Dame de Chalant, Pauline Blanchard Leah; 1896, Izeïl, Magda, Gismonda, La Femme de Claude; 1900–01, (with Coquelin) L’Aiglon, Hamlet, Cyrano de Bergerac; 1905–06, La Sorcière, Angelo, Sapho, Tisbé. (During the tour of 1905–06, while acting in Texas she was forced on two or three occasions to appear in a circus tent in lieu of a theatre. The “theatrical trust” had for some reason denied her the privilege of acting in its theatres.) In 1910–11 she appeared, for the first time in America, in La Femme X, La Samaritaine, Jean-Marie, Sœur Beatrice, and Judas.