My Double Life: The Memoirs of Sarah Bernhardt

by Sarah Bernhardt

Overview

My Double Life: The Memoirs of Sarah Bernhardt, a classical book, has been considered important throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

Product Details

ISBN-13:	9789357968065
Publisher:	Alpha Edition
Publication date:	05/10/2024
Pages:	406
Product dimensions:	6.00(w) x 9.00(h) x 0.90(d)

About the Author

Victoria Tietze Larson is Associate Professor in the Department of Classics and General Humanities at Montclair State University. She is the author of The Role of Description in Senecan Tragedy.

Table of Contents

Preface

My Double Life

Notes

Bibliography

Index

What People are Saying About This

Susan Bassnett

Bernhardt was one of the leading international actresses of her day. This memoir is particularly interesting not only because of the light it sheds on theater, but also because of what it tells us about the role of an artist in a particularly troubled period of French history. -- University of Warwick

Editorial Reviews

The most tempestuous and possibly the most famous actress of her time, Bernhardt (1844-1923) kept a coffin by her bedroom window in which she lay "to learn my parts." Needless to say, the border between acting and life was tenuous for her. Bernhardt's two-volume memoir was originally published in English in an anonymous translation in 1907; this new translation, gracefully accomplished despite occasional anachronisms ("gofer"), is an abridgment of the first volume. Bernhardt, illegitimate although with some family money on both sides, is presented as both melodramatic and frustratingly discreet. We never learn the identity of her father, nor anything significant about her son Maurice's birth (she doesn't even mention that he was illegitimate). A husband, unnamed, emerges only once from the shadows. Still, Bernhardt writes vividly and with apparent honesty about her "thin and sorrowful visage," her troublesome failures to abide by contracts, and occasions when she "performed very badly." Most memorable is the German siege of Paris in 1870- 1871, when she turned her theater, the Odeon, into a military hospital, scrounged for provisions in the isolated city and burned the seats and props for warmth. Despite her failure to deliver on the teasing promise of her title, Bernhardt can be quite winning. She concludes by remarking, "My life, which I had at first expected to be very short, now seemed likely to be very very long; and it gave me great joy to think of the infernal displeasure that would cause my enemies." (Mar.)

Publishers Weekly - Publisher's Weekly

An autobiography of French actress Sarah Bernhard, who was internationally famed during her lifetime and afterwards as one of classical theater's all-time greatest stars. Her memoirs are composed with a sense of artistry and suspense, and illuminate the worlds of theater, women, and society of the period. This annotated, abridged translation replaces a 1907 translation rendered in dated English. Annotation c. by Book News, Inc., Portland, Or.

Booknews

"The most tempestuous and possibly the most famous actress of her time, Bernhardt (1844-1923) kept a coffin by her bedroom window in which she lay "to learn my parts." Needless to say, the border between acting and life was tenuous for her. Bernhardt's two-volume memoir was originally published in English in an anonymous translation in 1907; this new translation, gracefully accomplished despite occasional anachronisms ("gofer"), is an abridgment of the first volume. Bernhardt, illegitimate although with some family money on both sides, is presented as both melodramatic and frustratingly discreet. ...Despite her failure to deliver on the teasing promise of her title, Bernhardt can be quite winning. She concludes by remarking, "My life, which I had at first expected to be very short, now seemed likely to be very very long; and it gave me great joy to think of the infernal displeasure that would cause my enemies." — Publishers Weekly, February 8, 1999

"Bernhardt was one of the leading international actresses of her day. This memoir is particularly interesting not only because of the light it sheds on theater, but also because of what it tells us about the role of an artist in a particularly troubled period of French history.

"Larson's translation is very good and extremely readable. The only other version in English was published in the first decade of this century and is hopelessly out of date. Larson has taken pains to ensure that the language is contemporary but jargon-free, and the book is very well written. The translator's notes are an asset to readers who have no background knowledge of the period." — Susan Bassnett, University of Warwick

"This is one of the most interesting works I've read in the last few years. I found it a compelling read from the very first page to the last. I wish there were another volume to follow!" — Anna St. Leger Lucas, McMaster University

From the Publisher