Catherine Reef is the author of the new young adult biography Sarah Bernhardt: The Divine and Dazzling Life of the World's First Superstar. Her many other books include The Strange True Tale of Frankenstein's Creator, Mary Shelley and Victoria: Portrait of a Queen. She lives in Maryland.
Q: Why did you decide to focus on Sarah Bernhardt in
your latest young adult biography?
A: I am interested in the creative process and had
written about artists in various fields, about writers such as the Brontë
sisters and Mary Shelley, for example, and the painters Frida Kahlo and Diego
Rivera.
When I decided to write about someone from the world
of theater, Sarah Bernhardt was the ideal choice. She was a skilled actor and
she lived an eventful life, offering me a compelling story to tell.
Bernhardt’s beginning was unpromising. She was the
child of an unmarried courtesan who showed her little affection and, early on,
her headstrong, impulsive nature worked against her. But she refused to be defeated
by herself or anyone else and went on to dominate French theater in the late 19th
and early 20th centuries and to win fans throughout the world.
She was also a great patriot who in 1870, in the midst
the Franco-Prussian War, turned a shuttered theater into a hospital for wounded
soldiers. During World War I, she was one of the first performers to entertain
troops on the front lines of battle—at age 70 and after having a leg amputated.
She was a sculptor, painter, and best-selling author,
and she was a proud single mother. If I had to choose one word to describe
Bernhardt, it would be heroic.
Q: What do you see as Bernhardt's legacy today, and
are there any current stars whose celebrity resembles hers?
A: Bernhardt acted almost exclusively onstage, so
except for the few silent films in which she starred, her acting is lost to us.
We must rely on contemporary accounts to reimagine her ephemeral artistry.
She did leave her mark on some of her most famous
roles, though. For years sopranos starring in Puccini’s Tosca, for instance,
based their performances on Bernhardt’s in the Victorien Sardou drama that
inspired the opera. But her acting style, praised as natural and unaffected in
her youth, came to seem old-fashioned and affected to later generations of
theatergoers.
Maybe her legacy was more of a feminist one, because
she demonstrated that a woman could live successfully and independently outside
the boundaries that her society had placed on female behavior. She was also a
role model for other women in all the art forms she pursued.
Is there a modern Sarah Bernhardt? Any number of
gifted actors are working today, but none prevails over theater or film as
Bernhardt did in her time.
Since her death, some performers have attained
worldwide fame and have drawn crowds and made headlines wherever they went.
Marilyn Monroe and the Beatles come to mind. Others have known how to generate
publicity through eccentric dress and behavior, as Bernhardt did. Think of Lady
Gaga.
We have also seen celebrities excel in multiple
branches of the arts. Ethan Hawke, known best as an actor, has published novels
and been a documentary filmmaker. And the much-honored writer Maya Angelou
could sing, dance, and act.
What is more, quite a few actors have been politically
active. Mia Farrow, a tireless UNICEF Goodwill Ambassador, is just one. I
cannot think of a single star possessing all those attributes except Bernhardt,
however. She remains one of a kind.
Q: How would you describe the relationship between
Bernhardt and her mother?
A: The relationship was a troubled one. Bernhardt’s
mother, a courtesan who went by the name Youle Van Hard, was ill-equipped for
parenthood. She was a teenager when she gave birth to Sarah and kept the child
at a distance as much as she could, leaving Sarah first with a paid caregiver
and later at boarding schools.
Of her three daughters, Van Hard showed affection only
to the middle child, Jeanne. She pushed away Sarah and the youngest, Régine. During
those periods when Sarah was in her care, Youle was hypercritical, calling
Sarah ugly, stupid, and ridiculous.
Of course, Youle Van Hard was not all bad. For
example, when pregnancy kept Sarah from performing onstage, Van Hard fed her
dinner each night.
Many daughters might respond with hostility to such a
mother, but from childhood Bernhardt adored Van Hard and tried to win her love.
When Van Hard died, in 1876, Bernhardt mourned both for the beautiful mother
she had lost and for the close parent-child relationship that she had longed
for but would never have.
Q: What do you hope readers take away from Bernhardt’s
life story?
A: My book offers an enjoyable reading experience and
an exploration of the life and times of an extraordinary woman. Whatever
knowledge or insight readers take away from it will depend on their interests.
Sarah Bernhardt’s story shows us the value of perseverance
because acting did not come naturally to her. Rather, she had to work hard to
develop her skills. She could have given up when she received bad reviews or failed
to meet goals she had set for herself, but instead she continued to learn and
practice, so that her next performance would be better.
In addition, she returned to the stage after setbacks
that would have caused others to quit, such as a fire that destroyed everything
she owned.
Bernhardt had a wonderful personal philosophy. She
vowed to take life as it came, good and bad alike. She adopted as her motto the
simple French phrase quand même, which means “in any event,” or “even so.” Fire
or good fortune, she would carry on, quand même. It reveals enormous courage
and confidence.
Q: What are you working on now?
A: I have started work on the biography of another
remarkable woman. She was born a century before Sarah Bernhardt, and her fate
was determined more by historical events than by anything she did to influence
the course of her life, but her story is no less worth telling—in fact, it is
fascinating and surprising. This project is still in its early stages, so stay
tuned!
Q: Anything else we should know?
A: That every life involves challenges and
disappointments is one of the lessons biography teaches. Discovering how a
subject faced life’s roadblocks can be instructive and inspirational, as we may
recall those incidents when confronting difficulties of our own.
I have been thinking about this quite a bit lately, as
the threat posed by the coronavirus looms over us all, and I want to remind
readers that biography can be a literary source of comfort and insight.
Would it help to stay the course and push through, as
Florence Nightingale did when she had to defy the narrow expectations imposed on
women by her family and society? Or have circumstances made one’s original goal
unattainable, and is it wiser to cut a new path, like Frida Kahlo dropping her
plan to be a doctor and taking up painting after being critically injured in an
accident? How would it be to adopt a philosophy like that of Sarah Bernhardt?
Biography reminds us that we are never alone in our
struggles.
--Interview with Deborah Kalb. Here's a previous Q&A with Catherine Reef.
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