Life, 1906-01-04 · page 26 of 48
Life — January 4, 1906 — page 26: what you’re looking at
What you’re looking at
This 1900s satire criticizes the **Theatrical Trust** (a monopoly controlling American theaters) for persecuting **Sarah Bernhardt**, the renowned French actress. The Trust, run by Messrs. Klaw and Erlanger, controlled Southern theaters and refused to book her performances because she worked with the rival Shubert brothers. Rather than capitulate, Bernhardt agreed to perform in a **circus tent**—a humiliating arrangement that Life's editors present as an insult to both the actress and American dignity. The savage caricatured face at left represents the Trust's ruthless methods. The satire's deeper point: this petty persecution of a woman artist will embarrass America internationally. French critics already view Americans as uncivilized; this treatment will confirm their stereotype that America harbors "wild Indians and bears" and cannibals. The right-side illustrations labeled "The Elocutionist and the Sensitive Plant" appear to mock contrasting theatrical styles—likely Bernhardt's dramatic intensity versus lighter entertainment fare.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
Anything to Beat a Woman. T" latest person to feel the sting of the lash wielded by the Theatrical Trust is Mme. Rernhardt. The organization is notoriously not a respecter of women, and Mme, Bernhardt, nds of this ruffianly band, The cause of the warfare on Mme. Bernhardt is that she is playing under the management of the Messrs, Shubert, wbo had the se longer to submit to the tyranny of the Trust. The manner of the warfare is to keep Mme, Bernhardt from playing in any of the theatres in the South controlled by the Trust. The g in courage, and, rather than disappoint her public, she has signified her willingness to play in a circus tent in those cities of the South where her coming courage to re French artist is not lack: had been announced, The result is that her managers have secured a large tent, in which Mme. Bernhardt will make her appearances in several cities, For Mme. Bernhardt to appear in a circus tent is perhaps not so great ah: South, The ssrs. Klaw and Erlanger. long ago Lire printed a protest rom a Southern writer aga Southern circuit being booked with such entertainments as nip to her as it isa humiliation—or should be one—to the people of the Not inst many theatres on the The Broadway Blondes" This feeling of indignation among our fel- low-citizens of the South must be heightened by the closing of the theatres that harbor Trust shows of that kind against the art of the greatest actress of our day. It is safe to predict that Southern chivalry will resent this persecution of a woman, and that wherever she has to play ina circus tént, she will receive a patronage and a welcome which will assure her that Americans are not in sympathy with the arrogance and mean. methods of these theatrical sharpers. It will be interesting to note the comments of the French press on this new aspect of art ia America. already have many a grudge against and * The Gay Girls of the Tenderloin Many French writers have a none tuo good opinion of our civilization, RNY Woares ONE UNDER AUTHORITY. ELOCUTIONIST ANO THE SENSITIVE PLANT. as it is, and it will be a joy for our critics to note this new form of appreciation we have for their artists. They will doubtless combine it with tne Quebec inci: dent to reaffirm their belief that wild Indians and bears still roam Broadway, and that the people of Chicago are largely cannibalistic in their tastes, Sarah in a comicbooks.com