Sarah Bernhardt - The Secret Attraction of a Lonely Wolf
With the words "By all means," she, along with one of her friends who came to her aid, dragged a half-dead old woman out of the blazing house. In a semi-conscious state, playing out the last scenes of Racine's Phaedra, she flew in a hot air balloon or descended into Brittany along a steep cliff, scraping her elbows, touching the raging sea with her feet.
"Life constantly puts a full stop, and I change it to a comma"
Sarah Bernhardt
"And Moscow reared up …" - wrote in 1881 in a feuilleton about Sarah Bernard's first visit to Russia Antosha Chekhonte. There is a lot of frank banter, but little truth. So what if he is a classic! He has his own, very characteristic, vector set and reasons to dislike women, but this is not about him today.
Then in Russia, the actress Sarah Bernhardt was not seen on stage, with the exception of a couple of Russian aristocrats and accredited diplomats. Moreover, Mr. Ivan Sergeevich Turgenev, who drove after his beloved Pauline Viardot, but did not make up his mind, in an analogous way, for bolder actions, spoke impartially about the French actress in a letter to Polonskaya: “I cannot say how angry I am all the madness committed about Sarah Bernhardt, this impudent and twisted puffist, this mediocrity, which only has that lovely voice. Will no one in print tell her the truth?.."
The funny thing is that Mr. Turgenev himself could not say "the truth in the press" - did he not want to or was he afraid? Afraid that the French would not forgive him? After all, he himself spent half his life abroad and wrote even in a Western manner with the use of a large number of verbs in a passive form. Not paying attention? Read more closely.
It is not appropriate for a nobleman or a writer to speak of a woman in such terms. For him, of course, Pauline Viardot overshadowed the entire world: pure, respectable, with maternal instincts, etc.
Yes, it is understandable why our Russian writers have such an attitude towards a woman, free, uninhibited and free, like Sarah Bernhardt. She will give them 100 points ahead in matters of creativity and independent behavior. The actress Sarah Bernhardt was also an artist, sculptor, invented and created costumes, wrote short stories and … remained free.
Surprisingly, the urethral actress was drawn to urethral Russia. She had some kind of special relationship to this distant, cold country. Later, every 10 years she would come there on tour and, who knows, if the Russian revolution had not happened, she would have visited Moscow, Petersburg, Odessa … again. What attracted her to Russia? The breadth of the Russian steppes, the Russian expanse? After all, she wrote in her memoirs that she loves large open spaces and the sea, while forests and mountains suppress her and cause a feeling of lack of air.
If you look at the biography of Sarah Bernhardt through the prism of system-vector psychology, it is noticeable that every act is absolutely justified by the characteristics of her natural vectors.
Restless disposition, lack of fear of danger, internal orientation towards achieving the goal "By all means" helped her to survive many times. When she, under bullets on the battlefield, picked up wounded French soldiers, delivering them to the Odeon Theater, which she turned into a hospital, in Paris besieged by the Germans. Few of the men then dared to stay in the bombed and occupied city. But only not 26-year-old Sarah Bernhardt, for whom, as for the "urethral leader, the integrity of the pack was above her own life" and all the sorrows of war - hunger, devastation, shelling, loss of loved ones, friends, she shared with ordinary Parisians, not wishing how many of her friends, fellow actors and relatives, leave for evacuation.
But thanks to them, she received medicine, food and clothing for the wounded from different regions of France and Holland. Her great philanthropy did not allow leaving a wounded German soldier on the threshold of the theater-hospital. After the endured Franco-Prussian War of 1870-1871. she became a pacifist and hated any form of militarism.
With the words "By all means," she, along with one of her friends who came to her aid, dragged a half-dead old woman out of the blazing house.
“By all means,” in a semi-swooning state, playing out the last scenes of Racine's “Phaedra,” she flew in a hot air balloon or descended into Brittany along a steep cliff, scraping her elbows, touching the raging sea with her feet.
Like all urethral children, she grew up as a very mobile child, who had so many fractures and injuries that one can only wonder at the strength of vitality that seethed in this flimsy girl.
Her thin frail body, exhausted by endless childhood illnesses, demanded more and more new sensations not only of a physical nature, but also emotional excitement in fear, combined with fearlessness. Like any urethral individual, Sarah had a natural sense of the pack's unity from childhood - from helping the girls living with her in the monastery to saving her drowning friend. “This girl is the best we have,” said the abbess of the monastery, to whom Sarah caused a lot of trouble.
Later, her generosity was expressed in support of young actors, artists, writers and poets, which Prima rarely do, fearing competition.
The combination of the urethral vector and the optic cutaneous ligament made itself felt in some special form: either mysticism and fearfulness, or flirting with God. She challenges the most important thing - Him, Our Lord, whom she loved so much in her youth and whose bride, if the “home council” had not intervened in time, she was going to become.
In her youth, Sarah believed so much that she was preparing to become a nun and if it were not for a severe cold and severe stress, due to which she was taken from the monastery, the world could have lost the Great Actress.
The fear for her health instilled in her from early childhood led to one of the strange habits of sleeping in a coffin upholstered in white crepe. Rumors spread throughout Europe, not without the help of the journalistic fraternity, that the coffin had become her habitual abode, in which she indulged in sexual pleasures and crowds of curious people flocked to her performances, wanting at least one eye to look at the exalted lady. The Star always has two categories of fans. Some are interested in her work, others in her personal life. Sarah was no exception. One day a manicurist who came to Bernard saw her in her coffin working on the role, and rang the whole Paris about it.
The extravagant trick of the actress was used by newspapermen, her envious colleagues from the Comedie Francaise added poison here, adding a couple more piquant details that are not alien to the acting fantasy. As a result, the news was inflated to a global level, reaching Russia and America. There are many such curiosities in the biography of Sarah Bernhardt. In reality, everything was simpler.
After the already mentioned fire arranged by the maid, in which all her belongings were destroyed - furniture, books, paintings, clothes, but, by the way, she herself, son Maurice and the old woman, Sarah moved to a small apartment with a tiny bedroom, all the space of which she occupied a large bed. She lost her to her younger sister, who was sick with consumption and died six months later. The apartment was so scanty that there was no room for a second bed in it, so the small, fragile actress slept in a coffin.
It is possible that in childhood, being an impressionable and mystically minded girl, she decided for herself that a coffin prepared in advance would become a kind of guarantee of longevity for her. Spectators in their fears are able to come up with the most incredible rituals, amulets, talismans. In general, due to poor health, the actress spent a lot of time in bed, that is, in a coffin, reading and working on some roles.
"Some roles", but not all! Which ones, now no one will say, but most likely, for these "some roles" Sarah Bernhardt needed her emotional windings, which were written above, "driving" her into a state of fear. Actress Sarah Bernhardt replayed, perhaps, in all the most famous tragedies, covered by the French classics from ancient plots.
Her heroines were sacrificed, burned at the stake, they left, taking scores with their lives. Such roles require an actor's vision, the strongest mental stress, when the nerves are stretched like a string.
As a skin-visual, she could not deny herself the pleasure and professional necessity of rocking her own fears. Jumps in emotional amplitudes were necessary for her, because they formed the inner flexibility of the actress. The genuine emotional states that an actor enters into when he appears on stage help him to immerse himself in the given proposed circumstances during rehearsals and at performances. When this is successful, they say about the performer: "He is in good shape today."
A kind of acting technique that provides the performer with the opportunity to enter the desired state and take the right note of the role.
Knipper-Chekhova had her own way. Before the start of the play "Three Sisters", in which she played Masha, Olga Leonardovna soaked the handkerchief with the perfume given to her by Anton Pavlovich. The overflowing memories of her deceased husband-playwright tuned her to the exact wave of the role. Such tricks are known to any actor from the student's bench. Stanislavsky called this method "decoys" and taught the actors to use them.
With Sarah Bernhardt, they were somewhat sacred.
The ability to correctly feel these states, form, accurately direct and give the message that is needed in strength, verbalizing them with the words of a playwright, is usually called natural talent.
It is believed that talent is either present or not. Sometimes they say, "This actress is of average talent." This is fundamentally wrong. If we consider such an acting nature, based on the knowledge of the system-vector psychology of Yuri Burlan, we can say that an actress of this kind is “interfered with” by other natural vectors that inhibit her emotional off-scale. They kind of calm down these passions, transferring them to the rank of the mind, allowing her to play the role judiciously, restrained, in the absence of emotional eruptions. In art, this is called personality, style.
Such actresses include Alla Demidova, she herself admitted that even as a student, the teachers called her "buttoned up with all the buttons." This does not mean that this category of actresses is not talented, they are just different, they have their own fans and their own repertoire. These actresses and actors can leave someone indifferent and indifferent. It is customary to understand them with the head, not the heart, sincerely empathizing with them on stage and in life.
Sarah Bernhardt was not indifferent. Her whole life has passed at the highest emotional degree. She created inconvenience to everyone who was nearby with her explosive rebellious character: and when, in a fit of rage, as a very young girl, she thrashed, scratched and bit the nun with her hands and feet, who carelessly, with fierce pain; and later, having become a famous actress, in a fit of no less rage, she whipped with a whip presented to her by the Marshal of France (wow, gifts for the ladies!), a failed actress-scribbler who allowed herself to publish a vile book about the personal life of the Great Bernard, who tried to become famous in this way and bask in the rays of someone else's glory.
Despite the complexity of her character, as a child, Sarah was loved by the adults around her. Not knowing the real reasons for her hyperactivity, as it is customary today to define this special temperament of the urethral four-dimensional libido, parents and educators tried to protect her, noticing that the girl's outbursts of anger arise only when someone tries to forbid her to do something, thereby "Lowering her, the little leader, in rank." For people with a urethral vector, there are no prohibitions or restrictions in behavior and thinking.
“For flags” is about them, about the urethral. This is when a wolf who has gone from a confined space, becoming a loner, lives his life at the very peak of obsession with freedom, because he knows that a pack of dogs is following him. Sarah had the same thing. Her passionate nature did not fit into the usual framework of a bourgeois world, and her dogs were theatrical "well-wishers" and eternal newspapermen who fanned a real hippopotamus from the most innocent gossip-fly.
In fact, and in her memoirs she confirms this, the girl from a very early age had a strong skin-visual need for love, that is, an emotional connection that she tried to find with her mother, but she left her with the wet nurse, traveling throughout Europe. And if she showed feelings for Sarah, it was only during her illness. Who knows, maybe the girl was sick so much that at least in this way she could keep her mother near her. Impressionable skin-visual children do it well.
In moments of absence of parental care, when it was shifted onto the shoulders of educators and nuns, this need for emotional connection passed to plants and animals. Later, when she had already become a famous actress, in her house, according to contemporaries, “dogs, monkeys, lion cubs and even snakes were spinning under her feet”.
But the plants died, the animals had owners, the girl friends left with their parents, leaving the boarding houses and monasteries, and the Son of God was always here. He could be addressed through prayer and this was encouraged rather than punished. This is how Sarah's emotional connection with Christ developed.
The urethral vector, whose main characteristic is reckless courage, does not feel danger when a small child's body is torn from the hands of a nanny and plops onto a stone pavement, breaking fragile baby bones, or, having got out of a high child's chair, rolls straight into the fireplace, receiving serious burns.
A severe bruise that the actress, while on tour in South America, received due to a careless stage worker during the performance, jumping from a 4-meter height of the scenery into the "painted Tiber", after 10 years of treatment in all imaginable and inconceivable ways led to amputation legs. But this is not a reason to leave the stage or abandon love relationships with men, by whose age she was suitable as a mother.
Many believed and to this day believe that the extraordinary behavior of the urethral-skin-visual actress was an expression of shocking. Before whom was she to shock? To the audience who adored her? In front of the men who sought her favor and whom she herself chose?
She had no equal and she had no competitors, because no one could compare with her or copy her on stage and in life.
Outrageous is the merit of those who are afraid of losing the viewer and with all their might and the most unpredictable actions seek to attract attention and keep it.
Sarah, presumably, had a special relationship with Russia. She came on tour to St. Petersburg three times, and during the Russo-Japanese War, together with Enrico Caruso, she held a number of charity concerts, the proceeds from which were sent to help wounded Russian soldiers.
In Russia, Sarah Bernhardt met her future first husband. He served as a Greek diplomat and was 11 years her junior. The marriage was short. She found out much later that her dissolute husband was a gambler and a drug addict. But despite the divorce, Sarah continued to patronize him, especially in the last months of his life, who was dying from morphine and cocaine.
The second, unofficial husband of Sarah Bernhardt, was the Belgian prince Henri de Lin. He was going to marry her on condition that she leaves the stage, but, firstly, conditions cannot be imposed on the urethral woman, and secondly, “the neighbors-kings came running here,” the scandal was hushed up, and then 20-year-old Sarah had a son, Maurice … Later, Prince Henri wanted to give him his name, but now the son refuses to become an aristocrat.
Urethral women, just like men, are leaders by nature, the system-vector psychology of Yuri Burlan shows. Under certain conditions, the formation of urethral girls, they begin to imitate the behavior of male urethral individuals. This is manifested in the wearing of men's clothing, hairstyle. With a "depressed" urethral vector, that is, a girl beaten in childhood by an anal dad, a girl enters into a lesbian relationship with a skin-visual one, thereby, once again confirming her rank and natural leadership.
Women with a normally developed urethral vector enter into relationships with skin-visual men, as a rule, much younger than themselves. There are many such examples in history: Catherine II, Georges Sand and Chopin; on the Russian stage and in world cinema: Pugacheva - Kirkorov - Galkin, Lolita, Babkina, Alla Bayanova, Galina Brezhneva, Angelina Jolie - Brad Pitt, Madonna …
This also includes Sarah Bernhardt, who played on stage and even in cinema, which is at the dawn of its development, a number of male roles: Werther, Zanetto, Lorenzaccio, Eaglet … In the role of Hamlet, the actress conquered Stanislavsky himself.
The actress "did not have" age - she played Margarita in "The Lady of the Camellias" at the age of 68, just as at 28 she played the deep old woman. Her mastery of reincarnation was so great that it was legendary.
The whole life of the actress Sarah Bernhardt was shrouded in legends, as befits a man of unusually talented, free, who has his own independent civic position, which, oddly enough, was forgotten by both Turgenev and Chekhov, dwelling on gossip and slander, fished out of the foreign tabloid press greedy for sensations.
If you are interested in a systemic psychological analysis of famous personalities, you can master the skills for an independent analysis of the properties of any person at the training on System-Vector Psychology by Yuri Burlan. You can register for free online lectures at the link:
