The exhibition - accompanied by a catalog of contents and iconographic documents - intends to restore the complex personality of Eleanor Duse as a leading woman - artist and intellectual at national level, but also a skilled entrepreneur of herself. The importance of the presence in the theatrical life and of the social environment of united Italy is emphasized. Enrichetta where Duse, referring to the First World War, speaks of a "horrendous but necessary" war, letters of gratitude sent to the soldiers at the front and photos that see her next to them, as well as the innovative enterprise of founding at Library House for Actresses in 1914,

The exhibition aims to shed light above all on the international dimension of the divine actress through documents the main feature of the Giorgio Cini Foundation of Venice, the Civic Museum of Asolo and the Burcardo Library and Theater Museum of Rome. The 15 stages of the Duse's foreign performances , the dominant figure of her artistic biography, are reconstructed in the perimeter of the Sala Oro della Pergola. The tours , started in 1885 with the company of Cesare Rossi they continued unabated until 1909, to be resumed in 1923 in that last tiring pilgrimage to the United States suddenly interrupted in Pittsburgh on April 21, 1924. The destinations were the main squares of Western European theater to reach Russia, Egypt, the United States and South America.

Eleonora Duse, around 1890 (Portrait Michele Gordigiani)

Posters, room programs, painted and photographic portraits, stage photos, caricatures, scenographic sketches, correspondences, chronicles and contemporary reviews, balance sheets, honorary memorabilia, scripts with handwritten notes and handwritten notes allow us to discover the artistic choices of the Duse stage art, able to conquer even the difficult Parisian public so much to the obscure the myth of the eccentric and beloved Sarah Bernhardt . Bearer of national identity around the world, Duse always and everywhere performed in Italian, receiving continuous support. The success of the South American tour of 1885 can be seen in a letter from the Brazilian emperor, Don Pedro II , to the first woman of the Italian theater of the second half of the nineteenth century, the marquise Adelaide Ristori , an ideal artist and entrepreneur for Duse. Impressions of other exceptional spectators such as Chekhov , Chaplin < Victoria of England shed light on the incomparable art that his person emanated on the scenes. & nbsp;

Eleonora Duse in Antonio and Cleopatra , around 1890 (Photo Audouard)

Rome, Burcardo Library and Theater Museum

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<"MsoNormal" > The second part of the exhibition, exhibited in the Saloncino of the Teatro della Pergola, has a more intimate character and tells of the complex figure of the woman-artist Duse, but also of the influential intellectual in the late nineteenth twentieth century. We pass by the family photos of those who have come to see us next D'Annunzio and Sardou , from the letters to his daughter Enr mother to the relationship with the nascent feminist movement. The room has been built with some original costumes, among which the blue-green one of the woman of the sea by Ibsen. The relationships and estates of friendship that the artist had with various international personalities of contemporary culture were significant. Among the paper documents the autograph gifts of Their works by writers and poets of the level of Dumas son , De Maupassant , Von Hofmannsthal , Mallarm & eacute; , T & eacute; r & eacute; sah deserve particular attention; the correspondences with Count , Sarah Bernhardt and Arrigo Boito ; the approach with Pirandello for the staging of The life that gave you, conceived and created specifically for his interpretation.

Eleonora Duse in The Lady from the Camellias , around 1895

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There is no lack of amulets and personal objects of the actress, from the tea service carried around the world to the glass and silver paperweight with a dedication by Aur & eacute; lien Lugn & eacute; -Po & euml; . Margaret Gauthier, Fedora, Odette, Mirandolina, Santuzza, Cleopatra, Nora, Hedda Gabler and Francesca da Rimini. The room is dominated by majestic portraits that perpetuate the myth of his image and characters. A multimedia station collects documentaries from the Archive of Light and testimonies from family members, biographers and men of the scenes who have known it close, while on a vast graphical globe

A section of the exhibition concerns Eleonora Duse's relationship with cinema. At the back of the Gold Room, (1916) is projected, the actress's only concrete experience in the field of cinema, "the art of silence" as she used to call it. The film, which sees Dusa as the protagonist and co-author with Phoebus Mari in the choice of the subject of the script, is a precious testimony that shows today's audience the gestures and kinetic grace of the "divine" actress.

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