"Jewels on Stage," an exhibition organized by the Comédie Française and the School of Jewel Arts, showcases the jewelry worn by the most famous actresses and actors such as Talma, Rachel, Sarah Bernhardt, and traces the history of these jewels since the 18th century.

The jewels on stage do not need gold, silver, or precious stones. The essence is the theatrical illusion, making the fake appear real. Jewelry is central to theatrical plots.

It is through iconography and archives that we find them encircling foreheads, winding along arms, wrists, and fingers, and displayed on the chests of actresses and actors in the practice of their art.

It is the theater that provides the jewels to the actors and actresses when they serve a dramaturgical function: they are then considered essential stage accessories. Just as they are masters of their theatrical wardrobe, artists freely choose the jewel-ornaments that contribute to the aesthetic of the scene. These adornments enhance the performer, their costume, and their character with distinctive traits.

The jewels on stage have followed the reforms of stage costume that, from the mid-18th century to the Romantic era, strive for greater historical and geographical accuracy of adornments, demanding unity, an overall vision, and the alignment of costume and ornaments with the time and spirit of the play. The quest is for the right jewel, with an eye for authenticity.

Sacred monsters, jewel-actors: Sarah Bernhardt, Mounet-Sully, Julia Bartet, Edouard de Max...

These major figures of the Belle Epoque, adored by the public for their acting and stage presence, brought particular care to historical reconstruction.

The actresses are symbols of Art Nouveau and work hand in hand with creators, painters, and jewelers.

Sarah Bernhardt takes the art of stage jewelry further. Pearls, stones, gold and silver embroidery often spread across the entire costume, making her a jewel-woman. This process was exacerbated after her departure from the Comédie Française in "Theodora" where precious ornamentation literally covers the actress.

The jewel then loses its autonomy and becomes an integral part of the costume. The actresses become models for Art Nouveau jewelers by wearing their avant-garde jewelry on stage, such as Sarah Bernhardt and Julia Bartet for René Lalique.

The free exhibition can be visited until October 13, 2024

School of Jewel Arts

16 bis boulevard Montmartre

75009 Paris, France

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