麻豆社

Eleonora Duse was an actress ahead of her time. As a performer in the late 19th century when elaborate gestures, exotic costumes and lavish decors were the norm, Eleonora Duse stunned audiences with her truthfulness and intense absorption in the characters she played. She wore no make-up, you could see her blush or turn pale, she was a master of subtle body language and vocal modulation, and her aim was to eliminate the self and become her characters. Today she is often credited with having inspired modern acting, and the Russian theatre director Stanislavsky saw her as the perfect actress, and was greatly influenced by her when he created his acting method. Born in 1858 in what is now northern Italy, Eleonora Duse started acting at the age of four years old with her family鈥檚 touring theatre troupe. By her twenties, working as both a theatre manager and a performer, she began to achieve worldwide popularity, travelling all over the world, from South America to Russia to Egypt. She was soon acknowledged as one of the greatest actresses of her generation and her independent lifestyle turned her into an early feminist icon. So what was the secret of her genius and why is she largely forgotten today? And with no recordings of her voice, how do we know she was such a great performer?

Joining Bridget Kendall is Dr Anna Sica, Professor of Theatre at the University of Palermo in Italy, author of The Murray Edwards Duse Collection, and D鈥橝more e D鈥橝rte, the letters written to Duse from her Russian lover Alexander Wolkoff, soon to be published in English. Professor Paul Fryer, the co-editor of an essay collection on Eleonora Duse and Cenere (Cenere is the Italian word for Ashes, the title of the silent film Duse made in 1916, and the only record of Duse actually performing). Paul Fryer also directs the Stanislavsky research centre at the University of Leeds. And Dr Enza de Francisci, lecturer in Translation studies at the University of Glasgow, who specialises in the critical reception of Duse鈥檚 plays, and is the author of A 'New' Woman in Verga and Pirandello: From Page to Stage.

The reader is Cecilia Gragnani.

Produced by Anne Khazam for the 麻豆社 World Service.

(Photo: Eleonora Duse in 鈥淟ady of the Camelias鈥� by Alexandre Dumas Fils. Credit: ullstein bild/ullstein bild via Getty Images)