DOCSLIB.ORG

See Script Preview

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
See Script Preview By Omri Schein & Phil Johnson Original Music by James Olmstead A Loose and Comical Adaptation of Wuthering Heights by Emily Brontë PRODUCTION SCRIPT www.stagerights.com WITHERING HEIGHTS Copyright © 2019 by Omri Schein and Phil Johnson All Rights Reserved All performances and public readings of WITHERING HEIGHTS are subject to royalties. It is fully protected under the copyright laws of the United States of America, of all countries covered by the International Copyright Union, of all countries covered by the Pan-American Copyright Convention and the Universal Copyright Convention, and of all countries with which the United States has reciprocal copyright relations. All rights are strictly reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means, including mechanical, electronics, recording, or otherwise, without the prior written permission of the author. Publication of this play does not necessarily imply that it is available for performance by amateurs or professionals. It is strongly recommended all interested parties apply to Steele Spring Stage Rights for performance rights before starting rehearsals or advertising. No changes shall be made in the play for the purpose of your production without prior written consent. All billing stipulations in your license agreement must be strictly adhered to. No person, firm or entity may receive credit larger or more prominent than that accorded the Author. For all stage performance inquiries, please contact: Steele Spring Stage Rights 3845 Cazador Street Los Angeles, CA 90065 (323) 739-0413 www.stagerights.com PRODUCTION HISTORY Withering Heights was originally produced by the Roustabouts Theatre Company in San Diego. Directed by David Ellenstein CAST OF CHARACTERS Cast Total: 2 (non-gender specific) ACTOR 1: NELLY, the maid. HEATHCLIFF, the outsider. HINDLEY EARNSHAW, Catherine’s cruel brother. A rabid DOG. EDGAR LINTON, a genteel neighbor. CATHERINE LINTON, his whimsical daughter. ACTOR 2: JOSEPH, the unintelligible servant of the Heights. CATHERINE/CATHY EARNSHAW, the lovely but manic heroine. MR. EARNSHAW, owner of Withering Heights. FRANCES EARNSHAW, Hindley’s “horsey” wife. ISABELLA LINTON, Edgar’s snooty sister. LINTON, her sickly son. HARETON, Hindley’s manly son. THE CHARACTERS While we welcome and encourage you to create your own wild and whimsical portrayals, we do have a few suggestions that will assist in presenting a clear story. Joseph should be unintelligible. A thick Yorkshire brogue usually does the trick. Frances should be as horse-like as possible. Edgar and Isabella are all teeth and privilege. And Linton is a British, Woody Allen-ish twit. THE ACTORS & STORY This is a tour-de-force for two character actors. It’s an opportunity for two funny people to pull out all their tricks: walks, faces, and voices. However, the comedy should be based in truth. The comedy should come from the story and the stakes. Every character really feels what they feel and wants what they want. There should be no winking at the audience or any sense of “look how funny we are.” Tell the story and have a fun time doing it. Also, please note: this show is not gender or race-specific. The only prerequisite is to be funny. THE SCORE The score is a third character— or should we say the 14th character— in the show. The play comes with musical tracks. Each track is listed where it should be used in the script. It is up to you to decide how long each musical moment should last according to your individual staging needs. But it is essential that the tracks are used. COSTUMES Characters change by the second. The less costuming, the better. We recommend a single “period” sexless costume. Then add a scarf or a bow or a hat to differentiate the characters. Ultimately, the acting choices will make the difference. SETTING & TIME England; The Yorkshire Moors; 1776–1802 APPROXIMATE RUN TIME 80-90 minutes without intermission. WITHERING HEIGHTS – PRODUCTION SCRIPT 1 MUSIC: PRE-SHOW (ROMANTIC MOVIE THEMES) SCENE 1 MUSIC: WITHERING HEIGHTS MAIN THEME A big, curtained picture frame stands in the middle of the stage. Stage left: a barren Moorish tree. On stage right: a tombstone (large enough to hide a person). NELLY, the maid, sets the scene at the house— which has seen better days. NELLY is churning butter on a stool. With a churn: a barrel, churn stick, and a paddle. These items double as all the other props throughout the show. NELLY (sensing the audience) Oh, you startled me. I didn’t notice you all sitting there in silence. So nice that you’ve come. You’re here for my fresh butter, aren’t you? Nelly Forbush is famous in these parts, on the Moors… for her butter. Nelly Forbush, that’s me. House keeper. Confidant. Butter-churner extraordinaire. The curtain opens. SFX: MAGICAL HARPS Catherine Earnshaw poses in the picture frame. Oh— I see you all gazing upon that portrait of dear Catherine. What a beauty she was. And fiery. You don’t know who Catherine Earnshaw was? Don’t tell me you haven’t heard of— Withering Heights? SFX: WH EFFECT (A FRAU BLUCHERISH BANG) Lightning flashes. It’s quite a story. My favorite. A story of love, sadness, and— horror! (gasps or screams) There’s a woman out there who put our story to paper. But she got it wrong! Would you like to hear it? The real story! The way it truly was? Yes, I thought so. MUSIC: PLEASANT THEME It began on an evenin’ like this one. Dark, wet, chilly. (shivers) We were all much younger then— Music out. JOSEPH, an old, crusty servant, enters— out of the mist. 2 WITHERING HEIGHTS – PRODUCTION SCRIPT NELLY (CONT’D) (little scream) Who’s there? Oh, it’s my old friend, Joseph. (to us) Joseph is a most loyal servant here at the Heights. Strict Calvinist, you know. (to Joseph) It’s good to see you Joseph. But, you’re soaked to the core! JOSEPH It be pourin’ loike the West Indies oot thar. NELLY (does she understand him?) Yes. I’ve been brushing it differently. Where are young Catherine and Master Hindley? Causing mischief, no doubt. JOSEPH CathyahndHindleyahrcausinaearacousagain. Loudasthedevilhimself. NELLY (still confused) Don’t take the Lord’s name in vain, Joseph. Will you please go tell the children that supper is almost ready? And that their dear father, Mr. Earnshaw should be home from London any minute now? JOSEPH coughs violently. I’ll take that as a “yes.” JOSEPH exits behind the frame— changes to Cathy. Cathy was just a wee girl then, and this house was full of laughter, full of continuous joy! MUSIC: CHASE NELLY exits— changes to HINDLEY. CATHY, as a young girl, runs in laughing. CATHY Hindley? Brother dear, come find me! I’m hiding… Music out. HINDLEY enters. HINDLEY I abhor this game. I’d rather burn ants with my magnifying glass! CATHY Oh Hindley, you’re such a boy! HINDLEY Of course I’m a boy. I have a winky. Maybe I’ll simply burn you instead— He tries to burn her. CATHY Owwwwww! Stop, I’ll tell Nelly! WITHERING HEIGHTS – PRODUCTION SCRIPT 3 HINDLEY This is dull. When will daddy be home from London? He said he’d bring me a present! CATHY I want one too! SFX: HORSES TROTTING I hear the horses! (hand to ear) Could it be Father? CATHY exits behind the frame. HINDLEY Huzzah! Maybe it’s my bear trap!!!! A new addition to my torture accoutrement collection! MR. EARNSHAW, the kindly father, enters. EARNSHAW Children! I’m home! HINDLEY Daddy, Daddy! My present, my present! EARNSHAW My boy! Look at you! What’s that on your fingers? HINDLEY Blood. EARNSHAW Have you been skinning cats again? HINDLEY Not since yesterday. EARNSHAW Go wash your hands at once! HINDLEY But where’s my present— He makes an innocent face. EARNSHAW Hindley. How can I refuse that face? HINDLEY Is it another bear trap? EARNSHAW Shouldn’t we wait for Cathy? HINDLEY I can’t wait for her! I must have it now! 4 WITHERING HEIGHTS – PRODUCTION SCRIPT EARNSHAW You’ve always been a spirited boy. Very well then. He gives him a “fiddle” (the butter paddle). HINDLEY (disappointed) That’s not a beartrap! EARNSHAW No, it’s your very own violin! Can you say Stradivarius? HINDLEY I suppose this could be a bear trap. He swings it around disrespectfully. HINDLEY exits behind the frame. EARNSHAW I know they’ll be over joyed by my next present! I saved the best gift for last— (overcome) Oh, my heart! Come here, Heathcliff! HEATHCLIFF, a Gypsy boy, enters, cautiously. There you are lad! Come over here! HEATHCLIFF I don’t know if they’ll like me, Mr. Great Big White Man— EARNSHAW How many times must I tell you— call me papa! HEATHCLIFF No more “Great Big White Man”? EARNSHAW Let’s stick with “Papa.” HEATHCLIFF Alright, Papa… EARNSHAW That’s it! You’ll be the best present I’ve ever brought them. So much better than that goat. HEATHCLIFF I can’t help but feel a little strange— Might there be any chance that by bringing me here and forcing me into your English family world we run a risk of upsetting some cosmic balance, unleashing forces we can’t control, causing disruption, turmoil, broken family relations for generations…? Naaaah. EARNSHAW Dance me a jig, Gypsy urchin! WITHERING HEIGHTS – PRODUCTION SCRIPT 5 MUSIC: GYPSY THEME HEATHCLIFF (as he dances a Gypsy dance) Yes Papa. EARNSHAW When I found you in that dirty brothel covered with dung and syphilitic cockroaches, I knew I alone had to save you from your filthy heathen self! Music out.
Load more

Recommended publications
  • The Opposition and Integration Between Civilization and Nature ―Analysis of Wuthering Heights from the Perspective of Eco-Criticism
    Advances in Literary Study, 2014, 2, 143-146 Published Online October 2014 in SciRes. http://www.scirp.org/journal/als http://dx.doi.org/10.4236/als.2014.24022 The Opposition and Integration between Civilization and Nature ―Analysis of Wuthering Heights from the Perspective of Eco-Criticism Junhong Tang, Yan Liu Foreign Language Department, Baoding University, Baoding, China Email: [email protected] Received 25 July 2014; revised 27 August 2014; accepted 25 October 2014 Copyright © 2014 by authors and Scientific Research Publishing Inc. This work is licensed under the Creative Commons Attribution International License (CC BY). http://creativecommons.org/licenses/by/4.0/ Abstract Eco-criticism offers a new perspective for us to study Wuthering Heights. In Wuthering Heights, the place of Wuthering Heights and the residents are the representatives of nature, while the place of Thrushcross Grange and the residents are the spokesmen of civilization. The history of the chang- ing relationship between the human beings and the nature is reflected in the relationships of the main characters in Wuthering Heights. Long ago the human beings lived in awe of the nature and admired it and then they exploited the nature excessively. At last they return to respect the nature and form a harmonious relationship between the human beings and the nature under the guid- ance of the eco-ethic. With the deterioration of the environment, the relationship between the human beings and the nature reflected in Wuthering Heights drives the modern people to think deeply. Keywords Nature, Civilization, Nature, Wuthering Heights, Thrushcross Grange 1. Introduction Wuthering Heights published in 1847 is the only novel of Emily Bronte.
    [Show full text]
  • Human Reincarnation, Reformation, and Redemption in Wuthering Heights
    Educating the Passions: Human Reincarnation, Reformation, and Redemption in Wuthering Heights A Thesis Submitted to the Committee on Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Faculty of Arts and Science TRENT UNIVERSITY Peterborough, Ontario, Canada © Copyright by Shahira Adel Hathout 2018 English (Public Texts) M.A. Graduate Program May 2018 Abstract Educating the Passions: Human Reincarnation and Reformation in Wuthering Heights Shahira Adel Hathout My thesis proposes to uncover what I term an Emilian Philosophy in the reading of Emily Brontë’s only novel, and suggests that Wuthering Heights reflects Brontë’s vision of a society progressing toward social and spiritual reform. Through this journey, Brontë seeks to conciliate the two contrasting sides of humanity – natural and social – by offering a middle state that willingly incorporates social law without perverting human nature by forcing it to mold itself into an unnatural social system, which in turn leads to a “wholesome” (Gesunde) humanity. While Heathcliff embodies Bronte’s view of a primitive stage of humanity, Hareton reincarnates the wholesome state of humanity that balances human natural creativity and cravings with Victorian unrelenting reason. Brontë treats Heathcliff’s death as a point in life, in which mankind is emancipated from social constraints and is able to achieve ultimate happiness. This view of death is reassuring as it displaces the anxiety associated with death and separation. My study will highlight the influence of Friedrich Schiller’s, Jean-Jacques Rousseau’s Philosophical writings and literary works, as well as the influence of the Franciscan Order in Catholicism and its founder St Francis of Assisi, patron saint of animals and environment, in framing Bronte’s philosophy to propose a social and religious reform anchored in nature.
    [Show full text]
  • Love Stories
    Romance stories Romance stories Aaaah - true love. There really is nothing better to bring a smile to Library your face, a warm glow to your - heart, and the belief that life is wonderful. But can you ignore your jealous rivals? With their underhanded tactics, two-faced scheming and inopportune ‘chance’ meetings – fully aware that love can be fragile! How dare they try to steal your true love away from you!! Worle Community School Academy Academy School Community Worle Romance stories How Hard Can Love Be? By Holly Bourne F/BOU ary All Amber wants is a little bit of love. Her mum Libr has never been the caring type, even before she - moved to California, got remarried and had a personality transplant. But Amber's hoping that spending the summer with her can change all that. And then there's prom king Kyle, the guy all the girls want. Can he really be interested in anti- School Academy SchoolAcademy cheerleader Amber? Even with best friends Evie and Lottie's advice, there's no escaping the fact: love is hard. Worle Community Community Worle Romance stories Love Hurts By Malorie Blackman F/BLA ary Malorie Blackman brings together the best Libr - teen writers of today in a stunningly romantic collection about love against the odds. Featuring short stories and extracts - both brand-new and old favourites - about modern star-crossed lovers from stars such as Gayle Forman, Markus Zusak, Patrick Ness and Andrew Smith, and with a new story from Malorie Blackman herself, Love Hurts looks at every kind of relationship, from first kiss to final heartbreak.
    [Show full text]
  • A Production Spring 2011 | Follies Chicago Shakespeare Theater About CST
    A production Spring 2011 | Follies CHICAGO SHAKESPEARE Theater About CST Chicago Shakespeare Theater (CST) is a leading international theater company, known for vibrant productions that reflect Shakespeare’s genius for intricate storytelling, musicality of language and depth of feeling for the human condition. Recipient of the 2008 Regional Theatre Tony Award, Chicago Shakespeare’s work has been recognized internationally with three of London’s prestigious Laurence Olivier Awards, and by the Chicago theater community with 62 Joseph Jefferson Awards for Artistic Excellence. Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, CST is dedicated to producing extraordinary productions of classics, new works and family fare; unlocking Shakespeare’s work for educators and students; and serving as Chicago’s cultural ambassador through its World’s Stage Series. At its permanent, state-of-the-art facility on Navy Pier, CST houses two intimate theater spaces: the 500-seat Jentes Family Courtyard Theater and the 200-seat Carl and Marilynn Thoma Theater Upstairs at Chicago Shakespeare. Through a year-round season encompassing more than 600 performances, CST leads the community as the largest employer of Chicago actors and attracts nearly 200,000 audience members annually—including 40,000 students and teachers through its comprehensive education programs. n BOARD OF DIRECTORS Raymond F. McCaskey William L. Hood, Jr. Glenn R. Richter Chair Stewart S. Hudnut Mark E. Rose Mark S. Ouweleen William R. Jentes Sheli Rosenberg Treasurer Gregory P. Josefowicz John W. Rowe James J. Junewicz Robert Ryan Frank D. Ballantine Jack L. Karp Carole B. Segal Brit J. Bartter John P.
    [Show full text]
  • Mardi 14 Mai 2013 Chants Officiels, Chants Du Silence Vincent Le Texier | Jeff Cohen
    Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Mardi 14 mai Mardi 2013 Mardi 14 mai 2013 Chants officiels, chants du silence Vincent Le Texier | Jeff Cohen Dans le cadre du cycle La musique pendant l’Occupation du 12 au 18 mai | Vincent Le Texier | Jeff | Cohen Le Texier | Vincent Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Chants officiels, chants du silence Cycle La musique pendant l’Occupation À l’échelle de l’histoire de la musique, les quatre années de l’occupation de la France par l’Allemagne nazie peuvent sembler trop brèves pour avoir influencé notoirement la vie musicale française. Elles sont pourtant une étape importante entre les deux parties du siècle, dans la mesure où elles voient s’affirmer une modernité de plus en plus radicale et un art musical de plus en plus administré. Dès les premiers jours de leur installation dans la capitale française, les autorités allemandes encouragent la reprise des activités artistiques alors que, dans le même temps, les Français n’ayant pas fui Paris veulent empêcher l’accaparement des institutions artistiques. C’est ainsi que quelques professeurs réussissent à rouvrir le Conservatoire le 24 juin 1940 et à y organiser le premier concert dans Paris occupé le 18 juillet. Le 22 août, c’est au tour de l’Opéra-Comique d’accueillir ses premiers spectateurs, auxquels on propose Carmen, puis, deux jours plus tard, du Palais Garnier qui présente La Damnation de Faust.
    [Show full text]
  • Bruce Walker Musical Theater Recording Collection
    Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN
    [Show full text]
  • Class and Gender Identify in the Film Transpositions of Emily Brontë's
    Seijo Richart 1 Appendix II: Transpositions of Wuthering Heights to other Media 1. Television 1.1. TV - films 1948 Wuthering Heights. Adapt. John Davidson (from his stage play). BBC TV. 1948 Wuthering Heights. Kraft Television Theatre, NBC (USA). TV broadcast of a performance of Rudolph Carter’s theatre transposition. Only the first half of the novel. 1950 “Wuthering Heights”. Westinghouse's Studio One. Perf. Charlton Heston. USA. 1953 Wuthering Heights. Perf. Richard Todd and Yvonne Mitchell. BBC TV (UK). Script by Nigel Kneale, based on Rudolph Carter’s theatre transposition. 1958 Wuthering Heights. Perf. Richard Burton and Rosemary Harris. UK 1962 Wuthering Heights. Perf. Keith Mitchell and Claire Bloom. BBC TV (UK). Script by Nigel Kneale, based on Rudolph Carter’s theatre transposition. 1998 Wuthering Heights. Dir. David Skynner. Perf. Robert Kavanah, Orla Brady. Script by Neil McKay. London Weekend Television. 2003 Wuthering Heights. Dir. Suri Kirshnamma. Writ. Max Enscoe. Perf. Erika Christensen, Mike Vogel. MTV Films. 1.2. TV Series 1956 Cime tempestose. Dir. Mario Landi. Italy. 1963. Cumbres Borrascosas. Dir & Prod. Daniel Camino. Perú. 1964 Cumbres Borrascosas. Dir. Manuel Calvo. Prod. Ernesto Alonso (Eduardo/ Edgar in Abismos). Forty-five episodes. México. 1967 Wuthering Heights. Dir. Peter Sasdy. Adapt. Hugh Leonard. Perf. Ian McShane, Angela Scoular. Four parts serial. BBC TV (UK). 1967 O Morro dos Ventos Uivantes. Adap. Lauro César Muniz. TV Excelsior (Brasil). 1968 Les Hauts de Hurlevent. Dir. Jean-Paul Carrère. France. Two parts. Early 1970s A serialised version in the Egyptian television. 1973 Vendaval. Adapt. Ody Fraga. Perf. Joana Fomm. TV Record (Brasil). 1976 Cumbres Borrascosas.
    [Show full text]
  • Wuthering Heights
    LEVEL 5 Teacher’s notes Teacher Support Programme Wuthering Heights Emily Brontë After old Mr Earnshaw’s death, Heathcliff is treated EASYSTARTS badly by Catherine’s brother, Hindley. Then, when he overhears Catherine say she will marry Edgar Linton, Heathcliff disappears, swearing to get his revenge on the two families. LEVEL 2 Three years later, now rich and respectable, Heathcliff sets about his destructive business. First, Hindley’s LEVEL 3 weakness for alcohol and gambling enables Heathcliff to gain control of the Earnshaw estate and Hindley’s son. Then, to her brother Edgar’s horror, he marries LEVEL 4 Isabella Linton. Catherine is also greatly upset by this; she becomes ill and dies after giving birth to her and Edgar’s daughter, a second Catherine, but not before Heathcliff About the author and she have sworn undying love for each other. Finally, LEVEL 5 Emily Brontë was born in 1818 into a clergyman’s family when Heathcliff’s own son comes to Wuthering Heights, of five girls and a boy. The family lived in Haworth, a Heathcliff sees how he can also acquire the Lintons’ moorland village in West Yorkshire, northern England. property. But revenge, after all, isn’t so sweet. Tortured LEVEL 6 Their mother died in 1821 and four of the sisters, by memories of Catherine, he is overcome by guilt and including Emily, aged 6, were sent away to a boarding madness. With his death, all ends happily. school, where conditions were so bad that two of them Chapters 1–4: Mr Lockwood is a new tenant at died.
    [Show full text]
  • Literacy Skills Teacher's Guide
    Literacy Skills Teacher's Guide for 1 of 3 Wuthering Heights (Unabridged) by Emily Brontë Book Information old Hindley Earnshaw the father of Catherine and young Hindley and the man who brings Heathcliff Emily Brontë, Wuthering Heights (Unabridged) home with him Quiz Number: 724 young Catherine (Cathy) Linton the daughter of Modern Library/Random House,2000 Catherine and Edgar, a vivacious person who ISBN 0-375-75644-2; LCCN 415 Pages deeply loves her father, marries Linton, and falls in Book Level: 11.3 love with Hareton Interest Level: UG young Hindley Earnshaw Catherine's brother, who is jealous of Heathcliff and treats him as a servant A tale of love that is stronger than death, it is also a fierce vision of passion between Catherine and Vocabulary Heathcliff. Elysium the place of the blessed after they die Topics: Classics, Classics (All); Emotions, Love; kirk a church Popular Groupings, College Bound; misanthropist a person who hates people Popular Groupings, Upper Grades Popular physiognomy judging a person by their facial Authors/Starred Reviews; Recommended features Reading, California Recommended Lit., English, 9-12; Series, Modern Library Classics; Series, Scholastic Classics Synopsis Mr. Lockwood is a tenant at Thrushcross Grange, Main Characters and Heathcliff is his landlord. He visits Heathcliff at Catherine Earnshaw Heathcliff's true love and only Wuthering Heights one afternoon and is forced to friend, who marries someone else in order to help stay because of a snowstorm. After spending a him terrible night there, Mr. Lockwood is curious about Edgar Linton Catherine's neighbor, the man she the history of the people who live at Wuthering marries and with whom she is happy until Heathcliff Heights.
    [Show full text]
  • A Chronology of Her Own
    Space and borders in Emily Brontë’s Wuthering Heights by Jan Albert Myburgh A dissertation submitted in fulfilment of the requirements for the degree Master of Arts in English in the Department of English at the UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES Supervisor: Professor David Medalie August 2013 © University of Pretoria I herewith declare that Space and borders in Emily Brontë’s Wuthering Heights is my own work and that all the sources I have used have been acknowledged by means of complete references. ____________________________ ____________________________ ii © University of Pretoria Acknowledgements I would like to thank Professor Medalie for his time, dedication, and prompt and very detailed feedback. I would also like to thank all my relatives, friends, and colleagues who supported me throughout this endeavour. iii © University of Pretoria Abstract Critics such as Elizabeth Napier and Lorraine Sim explore some aspects of space and borders in their discussions of Emily Brontë’s Wuthering Heights, presumably to demonstrate that the novel is a representative nineteenth-century text that depicts and comments on fundamentally nineteenth-century debates and concerns. However, the existing critical work on Brontë’s novel does not include analyses that incorporate spatial theories such as those of Henri Lefebvre, Edward Soja, Michel Foucault, and Henk van Houtum in their discussion of Brontë’s narrative as a seminal nineteenth-century work of fiction. These spatial theories maintain that those who occupy positions of power in society shape and remodel the spaces and borders in which society exists and of which it consists, and impose these constructs on the other members of society to ensure social order and to safeguard their own position of authority within the structure of society.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Wuthering Heights on the Screen: Exploring the Relations Between Film Adaptation and Subtitling
    WUTHERING HEIGHTS ON THE SCREEN: EXPLORING THE RELATIONS BETWEEN FILM ADAPTATION AND SUBTITLING Paula Ramalho Almeida, Sara Cerqueira Pascoal, Suzana Noronha Cunha Instituto Superior de Contabilidade e Administração do Porto ISCAP Portugal [email protected]/[email protected]/[email protected] Abstract This essay aims to confront the literary text Wuthering Heights by Emily Brontë with five of its screen adaptations and Portuguese subtitles. Owing to the scope of the study, it will necessarily afford merely a bird‘s eye view of the issues and serve as a starting point for further research. Accordingly, the following questions are used as guidelines: What transformations occur in the process of adapting the original text to the screen? Do subtitles update the film dialogues to the target audience‘s cultural and linguistic context? Are subtitles influenced more by oral speech than by written literary discourse? Shouldn‘t subtitles in fact reflect the poetic function prevalent in screen adaptations of literary texts? Rather than attempt to answer these questions, we focus on the objects as phenomena. Our interdisciplinary undertaking clearly involves a semio-pragmatic stance, at this stage trying to avoid theoretical backdrops that may affect our apprehension of the objects as to their qualities, singularities, and conventional traits, based on Lucia Santaella‘s interpretation of Charles S. Peirce‘s phaneroscopy. From an empirical standpoint, we gather features and describe peculiarities, under the presumption that there are substrata in subtitling that point or should point to the literary source text, albeit through the mediation of a film script and a particular cinematic style.
    [Show full text]