Dominique impersonates a Middle Ages anchoress, Julian of Norwich, the first woman who wrote a book in English about "the motherhood of God".
Her desire to "be in complete communion" with Buenos Aires, this "tough but fascinating" city, led Dominique Sanda to "do her job as an actress" there, on that occasion in Spanish, after performances in French and Italian.
Dominique recited The Lay of the Love and Death of Cornet Christopher Rilke by Rainer Maria Rilke, with music by Victor Ulmann.
Dominique plays the part of Queen Gertrude. Tour in Italy: at the Teatro Bonci in Cesena, Teatro Masini in Faenza, Teatro Metastasio in Prato, Teatro Storchi in Modena, Teatro Dell’Arte in Milano, Teatro della Regina in Cattolica, Teatro Verdi in Pisa, Teatro Politeama in Viareggio, Teatro Verdi in Carrara, Teatro del Giglio in Lucca, Teatro Carignano in Torino, Teatro sociale Villani in Biella, Teatro Manzoni in Pistoia, Teatro Nuovo in Bolzano, Teatro del Popolo in Colle Val D’Elsa and Teatro Moderno in Grosseto.
It is a great privilege for me, I cannot imagine a more exquisite pleasure: such a beautiful place as the Colon Theatre, and being connected to my country through Joan of Arc, the great liberator of France. The play has been written by Claudel and Honegger with all their heart, and with all my heart I shall play my role. I am living this as a godsend. (Dominique Sanda's interview by Isabel Estrada in LA NACIÓN newspaper, Sunday magazine, 5/19/2002)
Dominique plays the part of Ellida Wangel. Version by Susan Sontag, with Philippe Leroy-Beaulieu. Long tour in Italy. Dominique Sanda is The Lady from the Sea in person.
This idea belongs to me, the actress admits. I immediately felt a wild attraction toward this play where the heroine, Ellida, is femininity itself. I had always wanted to be directed by Robert Wilson. (Marion Thébaud, Le Figaro 3/15/1999).
Dominique Sanda is an extraordinary protagonist, alternating words, whispers, sea gull screams, for underlining the character's strangeness. (Maison des Arts of Créteil, March 1999)
The correspondence between two great ladies of the romantic nineteenth century, two writers whose fame has found its way through the twentieth century: George Sand (Dominique Sanda) and Marie d’Agoult (Brigitte Fossey). Two women who played an important role in the literary and musical life of their century, as they held a salon where they would welcome the elite of writers and musicians. They were both exceptionally intelligent writers, with a superlative taste for freedom. But this close intimacy would eventually bring out their fundamental differences. They would end up confronting and hating each other. They had each shared their life with a well-known composer (Marie d’Agoult with Liszt, George Sand with Chopin), and their epistolary exchange was always overshadowed by the presence of those two famous lovers.
The writer Viviane Forrester praised Dominique Sanda writing in the theatre hand programme:
“Her perception of what is not seen, is not “on stage”, is not told, all of which she catches, captures & offers in its very fleetingness."
Dominique Sanda as Lady Chiltern perfectly impersonates an irreproachable spouse, vestal of the family temple, but generously humanistic. (Le Provençal, Marseille 3/8/1997).
Choose a poem. Read it again slowly, carefully. Wait. Il gets into yourself, it settles in. It becomes your own truth. (Alain Bosquet: La fable et le fouet)
Texts by Pétrarque, Eichendorff, Lenau, Verlaine, Shelley, Proust; musique by Schubert, Schumann, Liszt, Nietzsche, Debussy, Hahn, Tosti, Ciléa. Directed by Michel de Maulne and Christian Crozet, pianist Ayala Cousteau, at the Théâtre Molière/ Maison de la Poésie.
Tour in France, Belgium and Switzerland.
Directed by Mario Monicelli, with Geppy Gleijeses, Laura Morante, Yvone Scio, Marilu Prati, Mariella Capotorto, Fabrizio Dardo, Oreste Valente, Cristina Ferrajoli, Luigi Merito, Darío Fantini. Played in Italian during an Italian tour.
In this confrontation, where professional competition is not absent, Dominique Sanda plays Melita with an asserted presence, although more brutal, hostile and curt. On the other hand, in this hardening, one can still feel her loneliness and a sort of nostalgia and pain. Once again, the result is dazzling. (Pierre Marcabru, Le Figaro, 3/28/1993)