The picturesque village of Haworth in West Yorkshire may be small, but it boasts a very big history and is very significant in the literary world. This pretty British village is where the iconic Brontë sisters lived between 1820 and 1855 and wrote some of their most famous books that went on to rock the literary kingdom all around the globe.Charlotte, Emily, and Anne Brontë were the novelists of their time, writing many of their iconic works at the Parsonage in Haworth - which was transformed into the Brontë Parsonage Museum. But it's not just the Brontës and their famed books that attract worldwide visitors to this incredibly beautiful place - the village's quintessentially British attractions, rich culture and history, magnificent historic remnants, and stunning countryside all equally put Haworth on the map. (...)Whether you're a book-lover or not, visiting the Brontë Parsonage Museum is an absolute must. Once home to the Brontë sisters and their father, Patrick Brontë - who was a priest at the Haworth Parish Church next door - this historical building was purchased by a local businessman in 1928 and donated to the Brontë Society who turned it into a wonderful museum that commemorates the family and their works. (...) (Lauren Feather)
However, the reason this show works — and would work even better if Rice could shave 15 minutes off its three hours — is that the bleakness never overwhelms. In every detail, from Ian Ross’s haunting songs to the idiosyncrasies of performance from the likes of Katy Owen and Sam Archer, there is a spark. It is somehow there even in the moorland backdrops, ravens fluttering to mark the story’s flurry of deaths. Rice’s great talent is to bring hope to everything she touches. It’s the oldest gift in the world: humanity.
Injecting genuine comedy was an impressive feat led mostly by Katy Owen. Playing Isabella Linton, she mischievously embraced all the tropes of naive youth until one particularly poignant moment, in the aftermath of Heathcliff’s rape when she implored the audience not to forget her name. As Linton, she completely carried the otherwise weak second act.All this production needed were some changes in tone. The lighting especially supported a continuously upbeat atmosphere. The story is dark, this show needed moments of darkness too. The moors are such an iconic feature of the Brontë’s work and it is wonderful to have that landscape take centre stage. There was an opportunity there to use the chorus to reinforce the sense of isolation and peril. Instead, through repetitive musical snippets, the chorus prevented much-needed moments of stillness and quiet. (Katie Chalk)
Weston Supermom also enjoyed the production very much.
The dispossessed of Ghostland instead welcome him as a savior, with dances and declarations of resistance, led by a sort of preacher who reads “Wuthering Heights” aloud as if it were the Holy Scriptures. (Zach Shipman)
Neha Kirpal: You also teach contemporary fiction at the University of Chichester, England. Who are your biggest literary inspirations?
A.M.: The writers who shaped me include Gabriel Garcia Marquez, Robertson Davies, Charlotte and Emily Brontë, Angela Carter and Lawrence.
Wide Sargasso Sea by Jean Rhys
Rhys imagines the lives of Bertha Mason and her family in a prequel to Charlotte Brontë’s Jane Eyre and our readers questioned her intentions for doing this. Slavery, entrapment and madness were the key themes assessed by our readers, as well as the significance of the settings in the novel. (Rachel Avery)
Then there were Tess of the D'urbervilles, Jane Eyre and my much loved school Mill on the Floss and the travails of their characters, their pages stained with ardent adolescent tears. (Sudha Nevi Nayak)
Das Zitat auf ihrem Arm stammt aus dem Buch „Sturmhöhe“ vom Emily Brontë, das sie berührt hat. „Ich habe das Glück, meinen Seelenverwandten gefunden zu haben und möchte ihn für immer behalten“, sagt sie und drückt wieder die Hand ihres Freundes. (Sabine Schramek) (Translation)
Und das ist nicht das Ende der Merkwürdigkeiten, die sich allmählich ins Mystische steigern. Nachts sieht Ophelia durch das Fenster Roisin im Garten stehen. Dann ist da noch das Klopfen im abgeschlossenen Nebenzimmer. Und seit „Jane Eyre“ weiß man, das solche Räume im britischen Kulturkreis nichts Gutes verheißen. (Martin Schwickert) (Translation)
La obra, protagonizada por tres mujeres, está inspirada en la historia de un joven huérfano japonés que la escritora conoció cuando su padre lo ayudó a ingresar a una empresa estadounidense en la que él trabajaba pero que tiempo después el joven abandonó, logrando un ascenso meteórico en otra firma. El libro también abreva en la lectura que desde los 10 años la escritora hizo de la novela Cumbres borrascosas, de Emily Brontë, a través de una colección de textos en japonés para niñas que llegaban a su hogar, y que de adulta leyó en inglés provocándole un impacto aún mayor, a tal punto que hoy la tiene como libro de cabecera. (Claudia Lorenzón) (Translation)
The Spanish press continues discovering that many (female) writers used pseudonyms in the past: infoNorte Digital. The Yorkshire Examiner includes Old Registry in Haworth in a list of pubs that you can buy right now. The Sunday Observer (Sri Lanka) quotes Wuthering Heights in a nice column. Le Dauphiné (Switzerland) talks about the last screening of a 35 mm copy of Wuthering Heights 1939 a the Cinémathèque de Grenoble. A Paper Girl, A Paper Town reviews the Easy Classics Jane Eyre comic adaptation.
0 comments:
Post a Comment