Continuing his five-year contract with the great actress, Mucha in 1899 creates two more posters for the productions of the Sarah Bernard Theater: Tosca and Hamlet. Both works indicate some depletion of the creative imagination of the author or tired of the monotony of the tasks.
Perhaps, the transition from full-scale preliminary sketches to using photographs, with imprinted scenes of the performance and spectacular poses of the actress, is guilty of the particular mechanism of the image. Fifty-five-year-old actress included the drama of Shakespeare in the classical repertoire of his theater, confident in their unique abilities of reincarnation.
Male roles did not scare her, Bernard’s first success was connected with Conpe’s play in the Odeion, where she played the young minstrel Zanetto, then Cherubino from The Marriage of Figaro, the poet Lorenzino from the drama Musset, and also the prince, son of Napoleon, from Eaglet “Rostand.
The unconditional influence on the poetry of the French symbolists of Sarah Bernard’s stage incarnations, including her travesty roles, was written by Ernest Reynaud in The Variety of Symbolism pure angel.. “
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