Eleonora Duse in Cavalleria rusticana

In the context of transnational cultural practices and expectations, this article sheds new light on the vicissitudes of the critical reception of Duse’s interpretation of Santuzza in London through a close examination of newspaper reviews and critical accounts from 1893 to 1905. By taking the reviews in chronological order, the assessment is able to reveal the evolution of the critics’ engagement with and interpretation of Duse’s acting style. In evaluating her performances, the analysis also contrasts Duse’s interpretation of Santuzza with other interpretations of the same character, particularly the operatic version which had already made its debut in London. While recent scholarship has overlooked the importance of Santuzza, it is suggested here that this unique role was, in fact, crucial in forging Duse’s early dramatic technique which not only broke down the barriers separating her from her audience but challenged the prevailing prejudices of women in the theatre

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