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Keighley people are being invited to apply for tickets to attend the December 13 screening of To Walk Invisible.Keighley News also has a separate article on Sally Wainwright.
Although much of the film was shot in Haworth during the summer, including Main Street and a specially-built Parsonage set on Penistone Hill, the screening will be over the moors in Hebden Bridge.
To Walk Invisible will be screened on BBC1 later this year following the preview at Hebden Bridge Picture House.
Writer and director Sally Wainwright, who also writes hit dramas Happy Valley and Last Tango In Halifax, will be at the preview to talk about the new film.
Tickets can be requested through the BBC by visiting the website visiting bbc.co.uk/showsandtours/shows/to_walk_invisible_13dec16.
Sally, who was born and brought up in the Calder Valley, is a Bronte enthusiast.
She said: “I am honoured the BBC asked me to bring to life this fascinating family in a story set in the heart of West Yorkshire, a place which means so much to me.
“This is such an exciting and ambitious project. Something about the lives of these three brilliant, talented Yorkshire women seems to touch people at a very deep level.
“I was absolutely determined to give people in Yorkshire a chance to see To Walk Invisible before everyone else because the Brontë sisters are such an important part of the county’s culture and heritage.
“I also wanted to thank all those people in Yorkshire who were so helpful while we were filming and who contributed to the film. I hope lots of people will join us for the screening.”
Doors will open on December 13 and tickets must be requested through the BBC’s Shows and Tours website. Space will be limited.
The evening will be hosted by BBC Radio 5 live presenter Anna Foster, who will interview Sally Wainwright and Executive Producer Faith Penhale before the screening.
Members of the cast are expected to attend too. (David Knights)
Brontë scriptwriter Sally Wainwright has spoken openly about her work at a public lecture.The Nottingham Post features the production of Polly Teale's Brontë at The Lace Market Theatre in Nottingham.
Sally Wainwright, writer and director of upcoming BBC drama To Walk Invisible, was in conversation with the University of Huddersfield ‘s leader of creative writing Dr Michael Stewart.
Sally, whose gritty new drama will explore the lives of the Brontë family in Haworth in the 1800s, told her large audience that there was “no drama in happiness”.
The veteran of crime dramas and Unforgiven and bittersweet serial Last Tango In Halifax explained why dysfunctional families frequently featured in her storylines.
She agreed that the latest drama, To Walk Invisible, due to be screened next month, portrayed “the ultimate dysfunctional family”.
She explained how she had selected unknown actors for the lead roles and ensured that they spoke with Yorkshire accents and bore a physical resemblance to the Brontës.
The audience was given a preview of a scene in which an emotionally charged Emily Brontë is seen physically assaulting her sister Charlotte after an argument over poetry and privacy.
It was based on research into the intense relationship between the literary sisters.
Sally said: “I really wanted it be like stepping back in time, and not feel like a sanitised, BBC dressing-up box production where they have all got white teeth and you wouldn’t be surprised if they got mobile phones out!”
The event at which Sally Wainwright spoke was the University of Huddersfield’s second annual JB Priestley Lecture.
The format was an interview conducted by Dr Stewart, an author who is also course leader in creative writing. (David Knights)
Not a standard biography, more a series of scenes that highlight the ambitions and emotions of all the family.And more takes on the Brontës' lives as Ángeles Caso spoke about her Brontë novel Todo ese fuego at a high school in Spain as reported by La Nueva España.
It's full of physical action, some of it of a fairly adult nature, brought to life by a superb cast.
Above all, the play is an exploration of how we handle the tensions between our emotional life, our creativity and society's expectations – plus the odd moment of humour.
El primero en intervenir fue un alumno de cuarto A. "¿Con cuál de las tres se identifica más?", preguntó. La respuesta de Caso fue frondosa, pero, en síntesis, se resumía en un nombre: "Emily Brontë era más introvertida que yo, pero como escritora es la que más admiro". En "Todo ese fuego" la autora asturiana cuenta la historia de tres mujeres que escriben "en una habitación muy pequeña tres de las obras más reconocidas de la literatura universal: nunca ha vuelto a pasar", ponderó. "Ella, además, era una amante de la naturaleza. También lo soy yo. Viví durante más de treinta años en Madrid y echaba de menos la naturaleza, nuestra naturaleza, la de aquí. En eso me parecía a Emily", reconoció. (Saúl Fernández) (Translation)The Huffington Post derives one of ten 'Empowering Lessons We Can Learn From Women In Literature' from Jane Eyre.
7) Find satisfaction in what you haveÀ Pala de Walsh (Portugal) features the 1946 film Três Dias sem Deus directed by Bárbara Virgínia.
“I can live alone, if self-respect, and circumstances require me so to do. I need not sell my soul to buy bliss. I have an inward treasure born with me, which can keep me alive if all extraneous delights should be withheld, or offered only at a price I cannot afford to give.”
Jane Eyre - Jane Eyre by Charlotte Brontë
Narrator of this novel, Jane, is an honest and plain young girl who is subjected to oppression and hardship but repeatedly succeeds in asserting herself and maintaining principles of justice and dignity. She values intellectual and emotional fulfillment and strongly advocates social equality. (Sophie Tanner)
Aliás, a história de Três Dias sem Deus aproxima-se, de forma quase escandalosa, à de filmes estreados poucos anos antes em Portugal como Rebecca (1940), Wuthering Heights (1939) ou Jane Eyre (1943) para citar apenas os mais evidentes. Elencar as semelhanças entre Três Dias sem Deus e a trama desses filmes (todos adaptados de romances da literatura anglo-saxónica escritos por mulheres) seria moroso. No entanto, sem querer ser exaustivo, atente-se nas seguintes coincidências: à boa maneira do romance gótico inglês, os quatro filmes possuem um castelo ou uma casa senhorial enorme, mal iluminada e arrepiante (no caso de Três Dias sem Deus é a casa da família Belforte, Casal de Lobos) sendo o piano um elemento recorrente na fabricação desse ambiente assustador (em Jane Eyre e em Três Dias sem Deus); em Rebecca, Jane Eyre e Três Dias sem Deus existem quartos interditos e em todos esses filmes o quarto corresponde à (ex-)mulher do paterfamilias (Laurence Olivier — de Rebecca e Wuthering Heights —, Orson Welles de Jane Eyre, João Perry); se num a mulher está morta (por um acidente/assassínio/suicídio – Rebecca), e noutro está insana (Jane Eyre), no filme de Bárbara Virgínia a mulher está viva mas incapaz de falar ou se locomover devido exactamente a um acidente/tentativa-de-homicídio por parte do marido (ela Isabel, ele Paulo).Dhaka Tribune finds a Brontëite in writer Bee Rowlatt.
Tanto em Rebecca como Wuthering Heights e Três Dias sem Deus o precipício e a queda dele é uma solução narrativa e simbólica para a falência do casamento e nos quatro o homem da casa é um ser com acessos de raiva; também se repete a figura da criada medonha (Mrs. Danvers interpretada por Judith Anderson em Rebecca e Teresa por Maria Clementina em Três Dias sem Deus), da (ex-)mulher que houvera sido uma grande figura da sociedade e em todos a protagonista é uma jovem moça inocente e idealista sobre a qual recaem apetites do senhor viúvo ou em vias do ser (Joan Fontaine — de Rebecca e Jane Eyre — e Bárbara Virgínia).
Por fim todo os filmes terminam num grande incêndio no palácio/castelo/casarão sendo que num esse fogo queima por fim a memória fantasmática e assombrosa (também no sentido de assombração) de Rebecca, noutro mata definitivamente a mulher tresloucada permitindo por fim o amor do casal (sobre)vivente (Jane Eyre) e em Três Dias sem Deus esse fogo faz renascer a mulher paralítica e comatosa, impedindo por isso a relação extraconjugal entre o senhor e a menina (a visão patriarcal e anumoa moral católica romana vigente acaba por se evidenciar, ao contrariar o cliché que o cinema de Hollywood já havia instituído). De forma mais lata também existe em todos um julgamento (ora legal ora popular) que acaba por revelar a inocência do marido (quer do assassínio, quer do embruxamento pelo demo) e também a atmosfera de segredos, mistérios e meias-verdades é uma constante nos quatro títulos. (Ricardo Vieira Lisboa) (Translation)
We know you idolise Mary Wollstonecraft. Who else has inspired you? The writers I always return to are Emily Brontë, Tahmima Anam and Toni Morrison. I admire people who wear their hearts on the outside, putting their own lives and passions into their work. My early reading years were illuminated by Thomas Hardy, Erich Maria Remarque and William Blake. And I was lucky to have a mum who read poems to me when I was little.#AmReading gives you '5 Reasons To Give ‘Wuthering Heights’ A Second Chance'. Kendra Leighton posts about it. AP Lit & Comp Blog discusses 'Why read Jane Eyre? Or, better yet, why teach it?' So Many Books, So Little Time posts about Wide Sargasso Sea. Story and Somnomancy writes about Jasper Fforde's The Eyre Affair.