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She explains how earlier adaptations and a prequel approach shaped the final piece returning to the Brontës’ beginnings. The text contrasts external domestic routines with inner psychological invention, discusses blending real and fictional characters, and considers the cost of visibility, ambition, and social change during the Industrial Revolution.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":10,"@type":76,"position":81},"https://docshare.wps.com/document/story-novel/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/polly-teale-bronte-an-interview-and-authors-note/129386/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/polly-teale-bronte-an-interview-and-authors-note/129386.png","ImageObject",300,407,{"name":92,"@type":93},"Olivia Brown","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-09-18","2026-08-07",true,{"@type":102,"interactionType":103,"userInteractionCount":34},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What initially drew Polly Teale to the Brontës and the “madwoman” figure?","Question",{"text":112,"@type":113},"She describes being intrigued by the madwoman’s mythic power, including Brontë’s attraction and repulsion toward her own creation—her danger, eroticism, and terrifying rage.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does Teale connect earlier works with the final Brontë-focused piece?",{"text":117,"@type":113},"She explains that prior stage adaptation of Jane Eyre and the prequel play about the madwoman’s earlier life led to a “return to the source,” imagining origins and development before confinement.",{"name":119,"@type":110,"acceptedAnswer":120},"Why does the author mix fictional and real characters onstage?",{"text":121,"@type":113},"Teale argues that dramatic collision between domestic reality and imaginative inner life is essential to understanding the Brontës, letting both external circumstances and internal worlds be seen at once.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},129386,1786105607,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":8,"category_name":10,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":34,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":129,"read_time":144},962084925636,"https://ap-avatar.wpscdn.com/davatar_994ba38a5ba835b3df7d355c54d3ed8d","Polly Teale BRONTË  \nNICK HERN BOOKS  \nLondon  \n[www.nickhernbooks.co.uk](www.nickhernbooks.co.uk)[ ](www.nickhernbooks.co.uk)[OceanofPDF.com](OceanofPDF.com)  \nContents  \nTitle Page  \nAn Interview with Polly Teale  \nAuthor ’s Note  \nOriginal Production  \nDedication  \nCharacters  \nAct One  \nAct Two  \nAbout the Author  \nCopyright and Performing Rights Information  \n[OceanofPDF.com](OceanofPDF.com)  \nReality and Fiction  \nAn interview with Polly Teale  \nThis isn’t the first time you’ve been drawn to the Brontës. How did it all start?  \nTen years ago I adapted Jane Eyre for the stage. I was intrigued by the mythic power of the madwoman, by Brontë’s repulsion and attraction to her own creation. Her danger and eroticism. Her terrifying rage. I wanted to explore what this figure represented. How she came into existence. To do this, I needed to research Brontë’s life and times. To see how the madwoman had been born in reaction to the Victorian ideal of femininity. How she had grown out of the Victorian consciousness. Later, I went on to write a play about Jean Rhys, who wrote a book inspired by Jane Eyre.  \nWide Sargasso Sea was a prequel, imagining the madwoman’s life before she was locked away. Giving her her own story. In Jean’s book, the madwoman was no longer a monster. We discover her as a child, follow her journey, her growing alienation, knowing of course where it will end. The book became a modern classic. The madwoman was out of her attic, back on the run, ready to stray into our fiction in whatever form she might choose; a potent symbol of female power and psychosis.  \nThis third and final piece is a return to the source, the beginning, the Brontës. I wrote the play with a question in my mind: how was it possible that these three women, three celibate Victorian sisters, living in isolation on the Yorkshire moors, could have written some of the most passionate (even erotic) fiction of all time? How could they have created such potent psychological portraits that they would come to haunt us, becoming a part of our collective consciousness?  \nBut why return to the Victorians? Things have changed so much for women. What can the Brontës tell us about our own lives?  \nYes, of course things have changed, yet we are still hugely drawn to these stories, these characters. Jane Eyre is believed to be the second most-read book in the English language (after the Bible) . Wuthering Heights remains  \none of the great literary creations of all time and is still a bestseller. Today it is difficult for us to imagine a world where women were not allowed to enter a library, where women had to publish under men’s names, where women had no part in public life. And yet one hundred and fifty years is not so long ago. Their struggles are not so distant. A century and a half may belong enough to change laws and even statistics, but how long does it take to change our thinking? Our deeper understanding of who we are and what’s possible for us? Writing the play also made me think about the cost of greater visibility, greater ambition. The way that it can distract and distort. The way it can undermine the sense of self. Branwell is perhaps the most tragic figure in the play, ruined by the weight of other people’s expectations, by fear of failure, the pressure to succeed.  \nWhy mix fictional and real characters onstage?  \nThe external lives of the Brontës were dreary, repetitive, uneventful, yet their inner lives were the opposite. To be able to dramatise this collision of drab domesticity and soaring, unfettered imagination, to be able to see both the real and internal world at once, was essential if we were to understand their story.  \nBut Cathy and the madwoman function in different ways. Cathy is in the house because Emily is creating Wuthering Heights. She is alive in Emily’s imagination as she conjures her up to write. She is an embodiment of Emily’s longing to return to the free state of childhood. The madwoman has a different relationship to he","cbCaij6Dss1oNXHJ","https://ap.wps.com/l/cbCaij6Dss1oNXHJ","pdf",359102,85,"English","# Contents\n## Title Page\n## Interview with Polly Teale\n## Author’s Note\n## Original Production\n## Characters\n## Act One\n## Act Two\n## About the Author\n## Copyright and Performing Rights Information\n## Reality and Fiction","[{\"question\":\"What initially drew Polly Teale to the Brontës and the “madwoman” figure?\",\"answer\":\"She describes being intrigued by the madwoman’s mythic power, including Brontë’s attraction and repulsion toward her own creation—her danger, eroticism, and terrifying rage.\"},{\"question\":\"How does Teale connect earlier works with the final Brontë-focused piece?\",\"answer\":\"She explains that prior stage adaptation of Jane Eyre and the prequel play about the madwoman’s earlier life led to a “return to the source,” imagining origins and development before confinement.\"},{\"question\":\"Why does the author mix fictional and real characters onstage?\",\"answer\":\"Teale argues that dramatic collision between domestic reality and imaginative inner life is essential to understanding the Brontës, letting both external circumstances and internal worlds be seen at once.\"}]","Polly Teale - Brontë - An Interview and Author’s Note | PDF",131]