Tuesday, June 28, 2016

Tuesday, June 28, 2016 8:53 am by Cristina in , , ,    No comments
The Panoptic gives a 4.5 out of 5 to Norther Ballet's Jane Eyre.
The versatility and creativity of Kinmonth is seen in the use of a raised platform at the back of the stage; the front of the platform opens, creating an additional entry point for the dancers, albeit the gap is no larger than the crawlspace of a house. This exit is used most effectively in Victoria Sibson’s (Bertha Mason) incredible pas de deux with Javier Torres. Bertha – Rochester’s secret, mentally ill wife – sets fire to Thornfield in a fit of rage, and climbs onto the roof to kill herself. Bertha’s fierce, contemporary dance style is mirrored in her wild hair, torn clothes, and bare feet; indeed their final pas de deux resembles the fights of Kenneth MacMillan’s Romeo and Juliet, but Sibson’s animalistic, at times chaotic, dancing adds a level of unpredictability to the performance which keeps the audience on the edge of their seats. Bertha is very much in charge here, and Rochester’s desperation to save her adds a sense of tragedy, leaving the audience stunned when Bertha flings herself off the roof, brilliantly portrayed by Sibson diving under the platform.
Javier Torres’ portrayal of the brooding, yet enigmatic Rochester is taken to another level by the undeniable chemistry between himself and Dreda Blow. Les pas de deux between the pair perfectly frame their love story, allowing for a well-paced development of their relationship. The first pas de deux is tentative, almost awkward (like two teenagers on their first date), owing to Blow’s deliberately stiff, guarded movements, and demonstrates Rochester’s intimidation of Jane. However, this soon gives way to a more classical dance style as the couple grow closer. At the end of the ballet they are reunited in a beautiful dénouement, repeating a motif from their first encounter in reversed roles, demonstrating Rochester’s dependence upon Jane. (Emily Baxter-Derrington)
Country Life recommends the exhibition featuring Charlotte Brontë at the National Portrait Gallery.
Celebrating Charlotte Brontë: 1816 – 1855
National Portrait Gallery, London, until 14 August, 2016
2016 marks the 200th anniversary of the birth of the eldest of the famous Brontë sisters, and author of the evocative Jane Eyre. The National Portrait Gallery brings together important items and artworks on loan from the Brontë Parsonage Museum, Haworth, such as letters, journals and even clothes, as well as first editions of Jane Eyre.
The display also includes the enigmatic group portrait of the three sisters by Patrick Branwell Brontë, as well as portraits of Charlotte’s own friends and associates like Elizabeth Gaskell, Lord Byron, and the Duke of Wellington. The exhibition presents an insight into the life, work, and relationships, of one of Britain’s most famous writers. (Nicholas Yiannitsaros)
This week's word at The Baltimore Sun is 'repine' and comes with a quotation from Jane Eyre.
We can regret, we can fret, we can yearn, we can repine.
To repine (pronounced ruh-PINE) is to be in low spirits generally, complaining or fretting. It can also mean to yearn for something.
It is a venerable English word, from the Middle English repinen, “to be aggrieved,” and the Old English pinian, “to cause to suffer.” Pinen is also the root of the verb pine, “to waste away from longing.”
You may have heard Orlando Gibbons’s “Do not repine, fair sun.” Or you may recall the widower Mr. Pecksniff: “ ‘Do not repine, my friends,’ said Mr. Pecksniff, tenderly. ‘Do not weep for me. It is chronic.’ ” Or Jane Eyre saying, “I wonder at the goodness of God; the generosity of my friends; the bounty of my lot. I do not repine.”
So don’t. (John E. McIntyre)
Frankfurter Allgemeine (Germany) discusses English literature and Brexit:
Charlotte Brontë (in deren Heimat Yorkshire die Arbeiterhaushalte klar für den Brexit votiert haben) verbannt die dunkelhäutige Fremde aus den britischen Kolonien in ihrem Roman „Jane Eyre“ zum lebenslangen Hausarrest auf den Speicher, wo sie, als Wahnsinnige deklariert, allen Blicken entzogen ist. (Paul Ingendaay) (Translation)
While Repubblica (Italy) looks at Brexit and the 'Erasmus generation'.
Marialuisa Di Simone, giornalista, ha vissuto nel 1997-98 con l’Erasmus a Swansea, una delle quattro sedi dell’Università del Galles. «Studiavo lingue, avevo una travolgente passione per la letteratura inglese dai Viaggi di Gulliver a Jane Eyre, così ho fatto il concorso per andare nel Regno Unito. E’ stata un’esperienza che mi ha aperto la mente. Ho seguito il corso Geoffrey Chauser [sic], l’autore dei Canterbury Tales, e la mia tesina era la traduzione dal Middle English in inglese moderno. Un altro corso si chiamava British policy and european integration: il professore ci ripeteva che la maggioranza dei britannici ci sta proprio a disagio in Europa». (Eugenio Occorsio) (Translation)
The Gazette-Virginian tells about the atmosphere at a recent Halifax Farmer’s Market:
The ladies cruising the aisles of vendor offerings at the Halifax Farmer’s Market Grand Opening Saturday morning were delighted, husbands, eyeing Victorian fans and bags of “literary teas” labeled “Jane Eyre” and “The Great Gatsby,” less so. (Kathy Millar)
Northern Soul tells about a visit to the Brontë Parsonage Museum. Write Out Loud features the Poetry at the Parsonage event. Kell Andrews describes her copy of Jane Eyre. She Reads Novels posts about Shirley. More on Villette and The Professor in Dutch on the Brussels Brontë Blog. AnneBrontë.org discusses the illnesses that affected Anne. On Facebook, photographer Mark Davis shared some pictures of the dismantling of the set for To Walk Invisible.

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