#harold pinter play betrayal

[kendallsroyco]

Charlie Cox as Jerry in Betrayal >>>>

I think if every Charlie fan saw him deliver the monologue at the end of this specific scene in such a raw, poignant way they would've bawled over. A gorgeous scene fantastically delivered by Charlie. Still living in my mind rent-free after almost 4 years:

[lustfulbaronet]

no but fr he did look like he's going through a tough time

[fyeah-olivia-colman]

August Bank Holiday Monday this year is also Olivia Colman Day, as BBC Radio 4 Extra features a fine array of Olivia’s radio work.

Comedian, actress and Colman-enthusiast Cariad Lloyd [Griefcast, Austentatious] brings together a collection of comedy and drama from across Olivia’s career, to celebrate the nation’s newest holiday.

Highlights include programmes never before broadcast on Radio 4 Extra all starring Olivia Colman, like the comedy pilot Child's Play, and Harold Pinter’s powerful and poignant drama Betrayal.

In addition, there are some Radio 4 Extra favourites like Hut 33 and Pauline Pepys’ Dowry, archive interviews with Olivia, and some of her colleagues and fans will tell us about what makes her such a beloved performer.

[justzawe]

Zawe Ashton Covers AMAZING Magazine | Issue 4

Actor, author, playwright and new mum Zawe Ashton adds another string to her bow: supervillain. As she joins the Marvel Cinematic Universe, she tells AMAZING about her love of poetry, getting physical on the set of The Marvels and the unwavering support of her own parents.

Zawe Ashton is no stranger to playing the antagonist. From her very first film role as rude schoolgirl Bianca in 2009’s St Trinian's 2: The Legend Of Fritton's Gold, to playing the intimidatingly cool Violet “Vod” Nordstrom in four seasons of student sitcom Fresh Meat and – more recently - as the rejected Julia Thistlewaite in 2022 period drama, Mr. Malcolm’s List, Ashton has a knack for taking on characters who appear unlikeable on paper… and making audiences fall in love with them. However, for her latest role as Dar-Benn in The Marvels, she had to go full villain.

“Very little can prepare you to have to embody an antagonist at this level, in a Universe that is literally not known to anyone – like our Space - and to make it real and impactful,” says the London-born actor, a new recruit to the Marvel Cinematic Universe. “There's something deeply humbling about having to return to the sandbox; you have to go back to the playground and that was something I was not expecting. You have to indulge in adult play and it’s surprisingly vulnerable. I know that there are gamers out there, there are cosplayers out there, there are adults who have managed to keep that level of childlike play going and I respect it so much. There's a self-consciousness that can take over if you are not careful. Trying to react realistically to a laser coming towards you is not something I’d done since I was seven years old, and I had to get to that level of childlike confidence to just delve into the imagination. Once that was all clearer, the villainous elements came so much from the physical world, with costume and hair.”

For 39-year-old Ashton, adult play will likely become a more frequent fixture in her life, thanks to her most exciting new role – as a mother. She welcomed her first child in 2022 with fiancé Tom Hiddleston, her co-star in the 2019 revival of Harold Pinter's Betrayal on London’s West End, later transferred to Broadway. “What has genuinely surprised me about motherhood is how much I don't feel ready to talk about it,” she laughs. “And this isn’t to shut down the conversation. I have gained so much insight from public people who have this incredible candour and this disarming, relatable dialogue about it very early on, but it's something that I am just dedicating time to absorbing. I’m listening rather than expelling energy. That genuinely has surprised me, because it's something you want to shout from the rooftops about; it's the most unparalleled, most important role in my life. The surprise has been how quiet I want to be about it. Maybe that's also me as a writer and this is something that will come through the pen at some point.”

Ashton attended London’s Anna Scher Theatre School from the age of six and was a member of the National Youth Theatre, before getting her degree in acting at Manchester Metropolitan University, but writing has always been significant in her life. She won the London Poetry Slam Championship in 2000, becoming the event’s youngest winner, at 17. “I may have been knocked off that pillar long ago, but in my head I'm still the youngest,” she laughs. “I love poetry. I had not written for a really long time; during the pandemic I lost a huge chunk of my creative soul when it came to putting pen to paper, which was really scary and was clearly the fallout of being in survival mode and feeling quite fearful. People's attention spans just went all sorts of different ways, didn't they? It was very hard for me to read, and it was very hard for me to write, which is very strange for me.

“More recently, a friend of mine from drama school who I used to do open mic nights with in Manchester – I used to perform poetry and she used to sing - asked me to write a poem for her wedding. I had a few moments where it was really tough, but I did it. I love her and I'm so happy for her, and being inspired enough to get a poem out and read it aloud really opened the floodgates. So, weirdly enough, I've been writing a lot of poetry recently and found a new love for it. I will always continue to use poetry as a way to understand the world. It's just so much part of who I am.”

For Zawe's full interview and shoot, order your copy of AMAZING issue 4 now. The Marvels is out now.

[queer-geordie-dyke]

"The other photo on my wall is a black and white portrait of Andreas giving a military salute. In the photo he’s already bald from chemotherapy. Bald and intensely alive. Another old warrior, just like my father. Eccentric, wildly talented, deeply spiritual, Andreas had the ability to lift you to a whole different dimension when you were lucky enough to be in a scene with him. Any scene, even the most ordinary, the most insignificant one. (He would probably protest and say that “insignificant” scenes don’t exist if you’re a truly serious actor.)

Under all the latex, he was the most human of us all. You had a feeling that he could get away with any choice, even the most outrageous one. He was that free. He was that brave. I remember a scene we had one day on B5. As I was learning my lines at home, I didn’t think much of the scene. I saw it as an exposition scene, with lots of words and not much emotion. In the scene, the following question is discussed: is it justified to sacrifice a certain number of people (and aliens of course – we were on B5!) to save an even bigger amount of people (and aliens)? To me the scene seemed like a dry, philosophical, purely theoretical discussion between our characters. I was looking forward to working with The Master but wished for a more emotional scene. Oh well, I thought, even this was better than nothing.

So I come to the set, all made up. I sit in a chair. And there, facing me, is the big lizard G’Kar, looking at me. I say my first line and look into Andreas’s red eyes. Before answering me, he pauses. I see his chin trembling. I see a tiny tear appear in the corner of his eye. And, suddenly, I am moved beyond words. And, suddenly, I too feel a tear in my own eye. And, suddenly, the scene becomes a completely different scene from the one I had envisioned at home. The dialogue suddenly becomes deeply personal. The words don’t matter any more (or, more precisely, they suddenly start to truly matter, having been illuminated by the personal stake invested into them).

What Andreas brings to those words is his whole being, his whole human experience, all his pain and sadness. And, suddenly, we soar. And I am lifted to another realm. And while this is happening, I’m aware, somewhere in the corner of my mind, that I’m privileged to take part in a master class in acting which starts with one of the most important lessons: no scene can ever be dismissed as insignificant. Even if it is, an actor’s job is to make it personal. The job is nothing more (and nothing less) than to make EVERYTHING personal. Only then the words start to matter and the scene has a chance to come alive. I thank Andreas in my mind, grateful for that unexpected moment we all live for.

But Andreas is also deeply introspective and insecure. When I call him one day after the show had ended and ask him how he is, he says: “I’m mourning the death of my career.” He also says: “I’m just a mediocre actor. That’s not enough to ‘make it.’ The world needs exceptional actors, not someone like me.” (And I’m thinking: if you’re mediocre, where do I belong?) His insecurity is endearing to me and just proves that the best people are modest and humble. It also proves something I’ve been aware of for a long time: only fools are perfectly self-confident. Doubt, especially self-doubt, is a part of wisdom. A part of being human.

He comes to dinner to our house and brings a Greek desert he has made himself. He gives me the recipe. I have kept it on my fridge ever since. He collects coupons from the papers and uses them for grocery shopping. He has a weekly budget he sticks to, no matter what. He tells me he wants to collect a million dollars in his bank account before he dies. “Does it have to be a straight million?” I ask, laughing. “Yes, it has to be a round number,” he answers, dead serious.

I propose to Peter and Andreas that we do my beloved play, the one that I never had a chance to do: Harold Pinter’s “Betrayal.” In my mind it would be a dream job with a dream cast in a dream play. Peter is somewhat game but Andreas says he’s “burnt out” theater-wise. He says (and he’s right) that theater requires a different kind of readiness, a different kind of stamina, a different kind of mental and physical form. “We’ve all lost it. Since we’re not doing it any more,” he says and gets me worried. Would I ever be able to do theater again?

Billy comes up with the idea of doing a record. We all contribute two songs. It’s a lot of fun. Andreas says he can’t sing but Billy is persuasive enough and Andreas finally agrees to do it. Although he’s not a singer and is off key most of the time, he steals the record with his absolute honesty and his genuine feeling, capturing the very essence of blues.

And then he gets sick. We go to his house and read the Tibetan Book of the Dead, according to his wishes. He had found love by the end of his life. His wife put together a short film with clips from his performances. We watch the breathtakingly handsome young Andreas in a hot, sexy scene on some Greek island with the most famous model of the seventies, Verushka. We all laugh and Andreas laughs the most. We watch him do theater somewhere in Africa with the great master, Peter Brook. We don’t want to let him go. And when he dies, his wife invites us to sit with him and help him “make the transition,” as is the Buddhist way. G. and I sit there for half an hour. He looks like the Greek god that he is. He’s majestic. He’s like a sculpture. His body is cold and peaceful and so beautiful, so absolutely perfect. And death seems natural and not scary at all. Farewell, dear, sweet, talented man! We were lucky to know you.

My friends are with me all the time, alive or dead. After a while it doesn’t matter anymore. Sometimes the dead ones seem more alive than the living. Maybe it’s my nature. Maybe it’s my age. Maybe it’s just how it is."

- Mira Furlan, Love Me More Than Anything In the World

[thealogie]

Was going to say if Michael Sheen wants to cater to me specifically he need to do a play with David Tennant, but I can see you beat me to that

other than maybe Rosencrantz and Guildenstern, what plays do you think they should do?

The good omens play and Waiting for Godot are obvious ones. Someone suggested Harold Pinter’s Betrayal for them a while back and I agree so much. Also Pinter’s no man’s land. I wish they could do Brutus and Caesar except Caesar dies too early and you can’t have the rest of the play go on without one of them. They should also say fuck it and age up the characters in the importance of being earnest just because they would slay at the double act comedy of it all

[kerink]

Wednesday night, the Night Vale Community Theater is holding auditions for Harold Pinter’s Betrayal, which is a play about a group of university scientists who find themselves in over their heads when they visit a small town that does not like them.

i think this bit was fascinating for two reasons:

1. it mirrors a scene from the mudstone abyss where there was a play about kevin's flaws and how the town viewed him as a theocrat

2. it's titled "betrayal." who is this in reference to? the uowii betraying the town's faith in science? carlos failing to protect them? or, just maybe. cecil failing to speak for the town, choosing himself and his own wants and needs above theirs.

almost like a certain double of his

[olemisekunst]

Zawe Ashton leaving The Harold Pinter Theatre after performing in the play Betrayal in 2019

[zawescource]

Actor, author, playwright and new mum Zawe Ashton adds another string to her bow: supervillain. As she joins the Marvel Cinematic Universe, she tells AMAZING about her love of poetry, getting physical on the set of The Marvels and the unwavering support of her own parents.

Zawe Ashton is no stranger to playing the antagonist. From her very first film role as rude schoolgirl Bianca in 2009’s St Trinian's 2: The Legend Of Fritton's Gold, to playing the intimidatingly cool Violet “Vod” Nordstrom in four seasons of student sitcom Fresh Meat and – more recently - as the rejected Julia Thistlewaite in 2022 period drama, Mr. Malcolm’s List, Ashton has a knack for taking on characters who appear unlikeable on paper… and making audiences fall in love with them. However, for her latest role as Dar-Benn in The Marvels, she had to go full villain.

“Very little can prepare you to have to embody an antagonist at this level, in a Universe that is literally not known to anyone – like our Space - and to make it real and impactful,” says the London-born actor, a new recruit to the Marvel Cinematic Universe. “There's something deeply humbling about having to return to the sandbox; you have to go back to the playground and that was something I was not expecting. You have to indulge in adult play and it’s surprisingly vulnerable. I know that there are gamers out there, there are cosplayers out there, there are adults who have managed to keep that level of childlike play going and I respect it so much. There's a self-consciousness that can take over if you are not careful. Trying to react realistically to a laser coming towards you is not something I’d done since I was seven years old, and I had to get to that level of childlike confidence to just delve into the imagination. Once that was all clearer, the villainous elements came so much from the physical world, with costume and hair.”

For 39-year-old Ashton, adult play will likely become a more frequent fixture in her life, thanks to her most exciting new role – as a mother. She welcomed her first child in 2022 with fiancé Tom Hiddleston, her co-star in the 2019 revival of Harold Pinter's Betrayal on London’s West End, later transferred to Broadway. “What has genuinely surprised me about motherhood is how much I don't feel ready to talk about it,” she laughs. “And this isn’t to shut down the conversation. I have gained so much insight from public people who have this incredible candour and this disarming, relatable dialogue about it very early on, but it's something that I am just dedicating time to absorbing. I’m listening rather than expelling energy. That genuinely has surprised me, because it's something you want to shout from the rooftops about; it's the most unparalleled, most important role in my life. The surprise has been how quiet I want to be about it. Maybe that's also me as a writer and this is something that will come through the pen at some point.”

Ashton attended London’s Anna Scher Theatre School from the age of six and was a member of the National Youth Theatre, before getting her degree in acting at Manchester Metropolitan University, but writing has always been significant in her life. She won the London Poetry Slam Championship in 2000, becoming the event’s youngest winner, at 17. “I may have been knocked off that pillar long ago, but in my head I'm still the youngest,” she laughs. “I love poetry. I had not written for a really long time; during the pandemic I lost a huge chunk of my creative soul when it came to putting pen to paper, which was really scary and was clearly the fallout of being in survival mode and feeling quite fearful. People's attention spans just went all sorts of different ways, didn't they? It was very hard for me to read, and it was very hard for me to write, which is very strange for me.

“More recently, a friend of mine from drama school who I used to do open mic nights with in Manchester – I used to perform poetry and she used to sing - asked me to write a poem for her wedding. I had a few moments where it was really tough, but I did it. I love her and I'm so happy for her, and being inspired enough to get a poem out and read it aloud really opened the floodgates. So, weirdly enough, I've been writing a lot of poetry recently and found a new love for it. I will always continue to use poetry as a way to understand the world. It's just so much part of who I am.”

For Zawe's full interview and shoot, order your copy of AMAZING issue 4 now. The Marvels is out now.

[kwebtv]

Sir Michael John Gambon CBE (/ˈɡæmbɒn/; October 19, 1940 – September 27, 2023) Film, stage and television actor. Gambon started his acting career with Laurence Olivier as one of the original members of the Royal National Theatre. Over his six-decade-long career, he received three Olivier Awards, two Screen Actors Guild Awards, and four BAFTA Awards. In 1998, he was knighted by Queen Elizabeth II for services to drama. Gambon enhanced his stardom through his role of Albus Dumbledore in the Harry Potter film series from 2004 to 2011, replacing Richard Harris following his death in 2002.

For his work on television, he received four BAFTA Awards for The Singing Detective (1986), Wives and Daughters (1999), Longitude (2000), and Perfect Strangers (2001). He also received two Primetime Emmy Award nominations for Path to War (2002) and Emma (2009). Other notable projects include Cranford (2007) and The Casual Vacancy (2015). In 2017, he received the Irish Film & Television Academy Lifetime Achievement Award.

In 1967, he made his television debut in the BBC television adaptation of Much Ado About Nothing as Watchman No. 4. He also appeared in British programmes such as Softly, Softly (1967), and Public Eye (1968). From 1968 to 1970, he featured in the BBC historical series The Borderers as Gavin Kerr. He also had a recurring role in the Canadian series The Challengers (1972). He also appeared in drama anthology series including Play for Today, Play of the Month, and ITV Playhouse.

His craggy looks soon made him into a character actor. For his lead role in Dennis Potter's The Singing Detective (1986) he won his first British Academy Television Award for Best Actor. He starred as detective Inspector Jules Maigret in an ITV adaptation of twelve of Georges Simenon's books. In 1990, he played Jerry in Harold Pinter's Betrayal for BBC Radio 3. In 1991, he starred as Tommy Hanbury in an episode of the ITV series Minder called "Look Who's Coming To Pinner". He also appeared in the BBC serial Wives and Daughters (1999) based on the Victorian novel by the same name by Elizabeth Gaskell. He portrayed Squire Hamley and received his second BAFTA Award nomination and win for Best Actor. (Wikipedia)

IMDB Listing

[dzinahk]

From 📱 @deadlinecom EXCLUSIVE: #SigourneyWeaver will make her West End stage debut as storm-creating sorcerer Prospero in The Tempest and #TomHiddleston and #HayleyAtwell will play sparring lovers Benedick and Beatrice in Much Ado About Nothing when director Jamie Lloyd returns Shakespeare early this winter to the historic Theatre Royal Drury Lane, a landmark venue in Covent Garden owned by Andrew Lloyd Webber.

[Jamie Lloyd (above)] goes way back with Hiddleston....

Back in early 2019, Lloyd directed a hauntingly sublime version of Harold Pinter’s Betrayal with Hiddleston, Zawe Ashton and Charlie Cox at the Harold Pinter Theatre. It quickly transferred to the Bernard B. Jacobs Theatre for a limited run, where it was nominated for four Tony Awards.

[wt-nv-quotes]

Wednesday night, the Night Vale Community Theater is holding auditions for Harold Pinter’s Betrayal, which is a play about a group of university scientists who find themselves in over their heads when they visit a small town that does not like them. Not at all. Pinter is one of my favorite playwrights. His style was dubbed Theater of Menace because of the tense threat of violence on every line. His best known plays were Betrayal, The Dumb Waiter, Will Rogers’ Follies, and The Lion King.

[monsterintheballroom]

Interview, well it´s more like a questionaire under the cut :-)

Dame Penelope Wilton: ‘My worst holiday was in Scotland’

The actress, 76, on tenacity, boarding schools and collecting art for the sake of it

Penelope Wilton is a multi-award-winning actress across stage and screen, who is best known for her role as Isobel Crawley in ITV’s Downton Abbey. Twice divorced, she has a daughter and two grandchildren, and lives in London. 

Best childhood memory?

I was five and my parents were moving house, so I was sent to stay with a great-aunt in Harrogate, as it was too much for my mother to look after me as well as my two-year-old sister Linda and my older sister Rosemary during the move. When it was time for me to go home, I was put on the train with the guard in his van. I then had to change trains at a station where my father was going to meet me. He ran down the platform and picked me up and I had him to myself for the whole journey on the other train. I was in heaven at the thrill of it all, because I adored him. To me, there was nothing more wonderful, as I was selfish about sharing him with my two sisters. 

Best subject at school?

History, which I still like now. I was never very good at school as I was slightly dyslexic, so my written work was frightful, but I really enjoyed history and still love good period biographies. As a little girl, I had gone to an extremely good convent school. But because my mother became ill, I then went to two terrible boarding schools with not very good teachers; anything I’ve learnt, I’ve taught myself. So I’ve always had a slight inferiority complex about my education. However, being an actor is a fascinating education in itself, as you are researching every­thing you do. So it set me on a path to find out about things. 

Best trait?

Tenacity: you have to stick with things, as a career, and life itself, obviously has its ups and downs. I almost gave up acting in my 20s as one theatre director was such a bully. I was so demoralised, because you’re not confident when you’re young – or I certainly wasn’t. I was also diminished by authority at school, but the experiences taught me that you have to fight that tyranny. Bullies like that don’t exist now in my industry; people nowadays wouldn’t put up with it. 

Best possession?

I can’t say my daughter and grandchildren because I don’t possess them, even though they are the most important things in my life. But I have a number of paintings of which I’m fond, particularly one by Winifred Nicholson. It’s a picture of Brittany with two Breton ladies, and a little white and grey house with a sandy track in front. It’s very charming and restful to look at. I collect art for its own sake: when I’ve made a bit of money, I buy a painting rather than anything else. Although I can’t buy any more as I can’t fit them in my house.

Best decision?

Having my daughter, Alice, who was quite a survivor as a baby. I’ve got a very nice son-in-law and two lovely grandchildren. Daniel is 10 and Ella is six; they show no sign of the acting gene, but she’s a good painter and he’s good at writing stories. 

Best film/play?

The best film when I was a child was Jacques Tati’s Monsieur Hulot’s Holiday. The ones I’ve liked best as an adult are by Scorsese and Spielberg. I’ve just watched The Godfather again, such a marvellous film. And anything with the late Lino Ventura in it, the Italian actor who starred in many French films. He was heaven. As for plays, I’m very fond of Shakespeare’s Much Ado About Nothing – I’ve played Beatrice – and also Harold Pinter’s Betrayal, Terence Rattigan’s The Deep Blue Sea and Christopher Hampton’s The Philanthropist.

Best moment?

When I saw my daughter for the first time; she’s a theatre producer now. My first child, a boy, had been stillborn at 29 weeks. And Alice was only 2lb 9oz when she was born at 30 weeks, but she survived and it was wonderful: the best production of all.  

Worst childhood memory?

Being sent away to school when I was eight and then again when I was 11. I told my parents I hated it, but my mother was very ill and couldn’t cope with the three of us girls. I was too cowed by authority at the time; and I could only go home at half term, which was just a long weekend, anyway. You did get letters from your family, though – and eventually I got used to it. But there was never any chance of me sending my daughter to board, though I think Daniel would be happy to do so now, because he’s very sociable. 

Worst habit?

I’m very anxious about timekeeping, so I’m always very early and make a fuss if I think I’m going to be late. It’s because of what I do: as an actor, if you’re late, missing your cue is the worst thing that can happen to you. The play can’t start until you’re all there – you can’t phone in your performance. It’s a nightmare. I even got lost once on the way to the theatre.

Worst subject at school?

I never got the hang of maths: it was because of the teaching, they weren’t very good. It’s a very logical subject, so you mustn’t miss a brick in the building. I would still like to master it one day.

Worst job?

A television drama called The Song of Songs, in 1973: it was about the demimonde in Vienna at the turn of the last ­century. The director was a terrible bully – another one – and a ­horrible man. My drama school, the Drama Centre London, had taught me to stand up for myself and have a voice, but that wasn’t allowed on this set. And the rest of the cast were mostly much older than me. 

Worst holiday?

I went to Scotland as a young teenager with my family because my father loved fishing, but it rained the entire time. We traipsed round historic houses a lot as there was nothing else to do while it rained so incessantly. It wasn’t completely horrible as we were together as a family – and Dad had a lovely time because the weather was good for catching fish. But if you’re an adolescent, castles get a bit boring. 

Worst thing about modern life?

The extremes: no one seems to listen to anybody else. There’s no compromise, even though life is about compromise. Social media is a wonderful thing in some respects, but not when it’s having a malign influence on young people. I’m on WhatsApp for the family, but generally it wastes time when I could be doing something else. As for mobile phones, people are ­better about turning them off in the theatre now, but it used to happen a lot – and it was incredibly offputting when they went off. I would find my voice rising to try to hide the sound.

The absolute worst?

The loss of my elder sister Rosemary 18 months ago from the effects of Covid was the worst, because your sibling is in your life the longest of all your family members. Her death is still very fresh to me, so these are sad times. She was seven years older than me and had started to fall a lot, so she was not in a good state to catch Covid. Although she actually got over the virus, she had to go into hospital because her breathing was not good – and she caught a chest infection there. She was a brilliant woman and a wonderful television producer for the BBC’s Arena arts programmes, such as The RKO Story.

[edtype]

Zawe Ashton Appreciation Moment

Zawe Ashton has yet to achieve international fame for her work, but her experience runs both wide and deep. She had long achieved household-name status (if not iconic status) in the U.K.

Here’s a sampling of TV and movie roles.

She held her own in the high-stakes environment of Broadway as the female lead of a work by the Lord High King of Angsty Plays, Harold Pinter. In the words of New York Times critic Ben Brantley, “. . . But it’s the relatively little-known Ms. Ashton who is the breakout star. And her deeply sensitive performance elicits a feminist subtext in Betrayal.”

That’s worthy of a Pinter pause.

More to come

on Zawe Ashton appreciation with a separate feature on Mr. Malcolm’s List.

[factinhistory]

What Happened on October 10 in British History?

October 10 has witnessed several significant events in British history, showcasing the nation’s evolving social, cultural, and political landscape. From the founding of pioneering organizations to the birth of influential figures, this date has played a crucial role in shaping the historical narrative of Britain. The events discussed in this article represent moments of progress, conflict, and cultural development, reflecting the multifaceted nature of British history.

In this article, we will explore four notable events that occurred on October 10: the founding of the Women’s Social and Political Union in 1903, the birth of playwright Harold Pinter in 1930, the launch of the Outer Space Treaty in 1967, and the dissolution of the Netherlands Antilles in 2010. Each of these events not only marks a distinct moment in history but also highlights the broader social and political movements that have influenced Britain and the world.

What Happened on October 10 in British History?

The Founding of the Women’s Social and Political Union (1903)

On October 10, 1903, the Women’s Social and Political Union (WSPU) was founded in Manchester by Emmeline Pankhurst and her daughters, Christabel and Sylvia. This organization emerged in response to the growing demand for women’s suffrage in Britain and became one of the most prominent groups advocating for women’s rights during the early 20th century. The WSPU’s motto, “Deeds, not words,” encapsulated its commitment to militant tactics in the fight for suffrage, which included protests, hunger strikes, and civil disobedience.

The formation of the WSPU marked a turning point in the women’s suffrage movement in Britain. Unlike earlier suffrage organizations, the WSPU embraced a more confrontational approach to attract attention to their cause. Members organized rallies, public speeches, and marches, often clashing with authorities. Their efforts highlighted the frustration of many women who felt marginalized and silenced in a patriarchal society. The WSPU’s activism significantly raised awareness about women’s rights, leading to increased public discourse on the need for gender equality and political representation.

The WSPU’s influence can be seen in the eventual passage of the Representation of the People Act in 1918, which granted limited voting rights to women over the age of 30. This achievement paved the way for further advancements in women’s rights, culminating in equal suffrage in 1928. The founding of the WSPU on October 10, 1903, remains a significant milestone in the ongoing struggle for gender equality in Britain and serves as a reminder of the power of collective action in effecting social change.

The Birth of Harold Pinter (1930)

On October 10, 1930, one of Britain’s most celebrated playwrights, Harold Pinter, was born in London. Pinter is renowned for his unique style of writing, characterized by its emphasis on dialogue, pauses, and the use of silence. His plays often explore themes of power, betrayal, and the complexities of human relationships, reflecting the darker aspects of life and the human psyche. Pinter’s distinct voice and innovative techniques have earned him a prominent place in the canon of modern British theater.

Pinter’s early works, such as “The Birthday Party” (1957) and “The Homecoming” (1965), challenged conventional narrative structures and traditional character development. Instead of providing clear resolutions, Pinter often left audiences with ambiguity, prompting them to question the motivations and intentions of his characters. His innovative approach to language and dialogue has had a profound impact on theater, influencing countless playwrights and theater practitioners. In recognition of his contributions to literature and drama, Pinter was awarded the Nobel Prize in Literature in 2005.

The legacy of Harold Pinter extends beyond the theater; his works often served as a commentary on social and political issues of his time. Pinter was an outspoken critic of totalitarianism, war, and human rights abuses, using his platform to advocate for justice and equality. His involvement in political activism and his ability to blend art with social commentary have solidified his status as a cultural icon in British history. The birth of Harold Pinter on October 10, 1930, marks the beginning of a remarkable journey that would leave an indelible mark on the world of literature and theater.

The Launch of the Outer Space Treaty (1967)

On October 10, 1967, the Outer Space Treaty, formally known as the Treaty on Principles Governing the Activities of States in the Exploration and Use of Outer Space, was opened for signature at the United Nations. This treaty established fundamental guidelines for the peaceful exploration and use of outer space, laying the groundwork for international space law. The Outer Space Treaty has been signed by over 100 countries and remains one of the most significant agreements in regulating outer space activities.

The treaty’s key provisions include the prohibition of the placement of nuclear weapons in space, the assertion that space shall be free for exploration by all countries, and the principle that outer space is not subject to national appropriation by any means. The Outer Space Treaty represents a collective commitment by nations to cooperate in the exploration of space for the benefit of all humanity, emphasizing the need for peaceful coexistence and collaboration in a domain that transcends national boundaries.

The launch of the Outer Space Treaty was a response to the growing concerns about the militarization of space during the Cold War era. As nations began to advance their capabilities in space exploration, the treaty aimed to prevent potential conflicts and promote cooperation among space-faring nations. The principles enshrined in the treaty have guided subsequent space endeavors and international agreements, underscoring the importance of responsible behavior in outer space.

The Outer Space Treaty remains relevant today as nations continue to explore and utilize space for various purposes, including scientific research, communication, and satellite deployment. As humanity stands on the brink of a new era of space exploration, the treaty serves as a reminder of the need for international cooperation and the shared responsibility of all nations in safeguarding the future of space for generations to come.

The Dissolution of the Netherlands Antilles (2010)

On October 10, 2010, the Netherlands Antilles was officially dissolved, marking a significant shift in the political landscape of the Caribbean. This dissolution resulted in the restructuring of the islands’ governance and their relationship with the Netherlands. The decision to dissolve the Netherlands Antilles came after years of discussions about political autonomy and the desire for greater self-governance among the islands.

As a result of the dissolution, the islands of Bonaire, Sint Eustatius, and Saba became special municipalities of the Netherlands, while Aruba, Curaçao, and Sint Maarten gained autonomous status as separate countries within the Kingdom of the Netherlands. This restructuring aimed to address the unique needs and aspirations of each island, allowing for greater local governance and political representation. The dissolution was met with mixed reactions, with some celebrating the increased autonomy while others expressed concerns about the challenges of self-governance.

The dissolution of the Netherlands Antilles on October 10, 2010, symbolizes the ongoing evolution of Caribbean politics and the quest for self-determination among its islands. The changes in governance reflect broader trends in the region, as many territories seek to redefine their political identities and relationships with colonial powers. The new status of the former Netherlands Antilles highlights the complexities of post-colonial governance and the importance of recognizing the aspirations of local populations.

The legacy of the dissolution continues to shape the political discourse in the Caribbean, emphasizing the need for dialogue and collaboration among nations. As the former islands navigate their new political realities, they grapple with the challenges of identity, governance, and economic development in an increasingly interconnected world.

Conclusion

October 10 stands out as a date marked by significant events in British history, each contributing to the broader narrative of social, cultural, and political development. From the founding of the Women’s Social and Political Union, which championed women’s rights and suffrage, to the birth of Harold Pinter, whose innovative contributions to theater continue to resonate today, these events reflect the dynamism of British society.

The launch of the Outer Space Treaty underscores the importance of international cooperation in the exploration of space, while the dissolution of the Netherlands Antilles highlights the ongoing quest for self-determination in the Caribbean. Together, these events illustrate the complexities and challenges faced by Britain and its former territories, emphasizing the need for dialogue, understanding, and collaboration.

As we reflect on the historical significance of October 10, we are reminded of the enduring impact of these events on contemporary society. They serve as a testament to the struggles and achievements of those who came before us, inspiring future generations to continue the pursuit of justice, equality, and progress.

[redeyesthicthighs]

Oohhh okay okay mmm

Last Song I listened to: Sleep On It by The Dip

Favorite Color: mmm been back in my red thing but probably periwinkle

Last Book I Finished: I read play scripts a ton but idk if those counts as books if so then Betrayal by Harold Pinter or The Theatrical Notebooks of Samuel Beckett: Waiting for Godot which I finished on the same day… but more classic book then I re-read Enders Shadow by Orson Scott Card cause it a favorite and I love sci-fi with a focus on biology and genes (I am in fact a theatre and science kid)

Last show is watched: Lincoln Lawyer (I love this show so much and the new season is so good)

Sweet/Salty/Savoury: sweet but like sour candy sweet. Love me some citric acid.

Relationship status: single

Most Recent Google Search: A Very Potter Musical Cast (lmao I am back in my StarKid thing)

Current Obsession: playing video games lol but Hades and Cult of the Lamb have been my two recent favorites

Looking forward to: Thanksgiving, it’s the first one that I am actually going to be home for in like 4 years.

I don’t have anyone to tag but if anyone wants to feel free to :)

10 people i’d like to get to know better<3

tagged by the lovely @rodyassock on my main account, mwah👩‍❤️‍💋‍👩

last song you listened to: sour breath by julien baker

favourite colour: i’ve always been a blue girlie up until two years ago when i embraced green and now it's all i wear

last book i finished: “trials of nation making: liberalism, race, and ethnicity in the andes, 1810-1910” for my uni book review 🥲 & i'm constantly rereading my favourite passages of my favourite novel “oranges are not the only fruit” by jeanette winterson

last show i watched: taskmaster uk lol

sweet/salty/savoury: for enjoyment sweet, for medical purposes salty (POTS gang rise up)

relationship status: long-term partnership with my best friend 🤍 (legally shes my wife bc of benefits so i love to call her that, but we prefer 'partnership' as a label because it's beautiful)

most recent google search: violet beauregarde (halloween costume)

current obsession: marauders era in general, this week i’ve mostly been thinking about rem

looking forward to: finishing my book review tonight so i can breathe

tagging (no pressure):

@regkitblack @hyunielover @soleilfool @poetichibiscus @gl1tterc0rpse @butt3rnugg3t @m00nkissedlover @honeyssweetened @rosieswriting @helens3amstuff @alwaysanundertone & anyone else who wants to play 🤍🤍