The Lover and the Collection First Folio
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Making Pictures the Pinter Screenplays
Joanne Klein Making Pictures The Pinter Screenplays MAKING PICTURES The Pinter Screenplays by Joanne Klein Making Pictures: The Pinter Screenplays Ohio State University Press: Columbus Extracts from F. Scott Fitzgerald, The Last Tycoon. Copyright 1941 Charles Scribner's Sons; copyright renewed. Reprinted with the permission of Charles Scribner's Sons. Extracts from John Fowles, The French Lieutenant's Woman. Copyright © 1969 by John Fowles. By permission of Little, Brown and Company. Extracts from Harold Pinter, The French Lieutenant's Woman: A Screenplay. Copyright © 1982 by United Artists Corporation and Copyright © 1982 by J. R. Fowles, Ltd. Extracts from L. P. Hartley, The Go-Between. Copyright © 1954 and 1981 by L. P. Hartley. Reprinted with permission of Stein and Day Publishers. Extracts from Penelope Mortimer, The Pumpkin Eater. © 1963 by Penelope Mortimer. Reprinted by permission of the Harold Matson Company, Inc. Extracts from Nicholas Mosley, Accident. Copyright © 1965 by Nicholas Mosley. Reprinted by permission of Hodder and Stoughton Limited. Copyright © 1985 by the Ohio State University Press All Rights Reserved Library of Congress Cataloging in Publication Data Klein, Joanne, 1949 Making pictures. Bibliography: p. Includes index. 1. Pinter, Harold, 1930- —Moving-picture plays. I. Title. PR6066.I53Z713 1985 822'.914 85-326 Cloth: ISBN 0-8142-0378-7 Paper: ISBN 0-8142-0400-7 for William I. Oliver Contents Acknowledgments ix Chronology of Pinter's Writing for Stage and Screen xi 1. Media 1 2. The Servant 9 3. The Pumpkin Eater 27 4. The Quiller Memorandum 42 5. Accident 50 6. The Go-Between 77 1. The Proust Screenplay 103 8. -
Chapter 4: Acting
096-157 CH04-861627 12/4/03 12:01 AM Page 96 CHAPTER ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ 4 Acting No role is too small. In this scene from Julius Caesar, the varied responses of the crowd members to Caesar’s death give the scene more depth. One can see Mark Antony, played by Al Pacino, judging the crowd’s mood and planning how to manipulate it. cting is a question of absorbing other Apeople’s personalities and adding some of our own experience. —PAUL NEWMAN, ACTOR 96 096-157 CH04-861627 12/4/03 12:02 AM Page 97 SETTING THE SCENE Focus Questions What special terminology is used in acting? What are the different types of roles? How do you create a character? What does it mean to act? Vocabulary emotional or straight parts master gesture subjective acting character parts inflection technical or objective acting characterization subtext leading roles primary source substitution protagonist secondary sources improvisation antagonist body language paraphrasing supporting roles So now you’re ready to act! For most students of drama, this is the moment you have been waiting for. You probably share the dream of every actor to create a role so convincing that the audience totally accepts your character as real, for- getting that you are only an actor playing a part. You must work hard to be an effective actor, but acting should never be so real that the audience loses the theatrical illu- sion of reality. Theater is not life, and acting is not life. Both are illusions that are larger than life. -
Harold Pinter's Transmedial Histories
Introduction: Harold Pinter’s transmedial histories Article Published Version Creative Commons: Attribution 4.0 (CC-BY) Open Access Bignell, J. and Davies, W. (2020) Introduction: Harold Pinter’s transmedial histories. Historical Journal of Film, Radio & Television, 40. pp. 481-498. ISSN 1465-3451 doi: https://doi.org/10.1080/01439685.2020.1778314 Available at http://centaur.reading.ac.uk/89961/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/01439685.2020.1778314 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: https://www.tandfonline.com/loi/chjf20 Introduction: Harold Pinter’s Transmedial Histories Jonathan Bignell & William Davies To cite this article: Jonathan Bignell & William Davies (2020): Introduction: Harold Pinter’s Transmedial Histories, Historical Journal of Film, Radio and Television To link to this article: https://doi.org/10.1080/01439685.2020.1778314 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 18 Jun 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=chjf20 Historical Journal of Film, Radio and Television, 2020 https://doi.org/10.1080/01439685.2020.1778314 INTRODUCTION: HAROLD PINTER’S TRANSMEDIAL HISTORIES Jonathan Bignell and William Davies This article introduces the special issue by exploring the transmediality of Harold Pinter's work. -
Synesthetic Landscapes in Harold Pinter's Theatre
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique. -
The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More Information
Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information The Cambridge Companion to Harold Pinter The Cambridge Companion to Harold Pinter provides an introduction to one of the world’s leading and most controversial writers, whose output in many genres and roles continues to grow. Harold Pinter has written for the theatre, radio, television and screen, in addition to being a highly successful director and actor. This volume examines the wide range of Pinter’s work (including his recent play Celebration). The first section of essays places his writing within the critical and theatrical context of his time, and its reception worldwide. The Companion moves on to explore issues of performance, with essays by practi- tioners and writers. The third section addresses wider themes, including Pinter as celebrity, the playwright and his critics, and the political dimensions of his work. The volume offers photographs from key productions, a chronology and bibliography. © Cambridge University Press www.cambridge.org Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to the French edited by P. E. Easterling Novel: from 1800 to the Present The Cambridge Companion to Old English edited by Timothy Unwin Literature The Cambridge Companion to Modernism edited by Malcolm Godden and Michael edited by Michael Levenson Lapidge The Cambridge Companion to Australian The Cambridge Companion to Medieval Literature Romance edited by Elizabeth Webby edited by Roberta L. Kreuger The Cambridge Companion to American The Cambridge Companion to Medieval Women Playwrights English Theatre edited by Brenda Murphy edited by Richard Beadle The Cambridge Companion to Modern British The Cambridge Companion to English Women Playwrights Renaissance Drama edited by Elaine Aston and Janelle Reinelt edited by A. -
The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter
Ben Ferber The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter I have no doubt that history will recognize Harold Pinter as one of the most influential dramatists of all time, a perennial inspiration for the way we look at modern theater. If other playwrights use characters and plots to put life under a microscope for audiences, Pinter hands them a kaleidoscope and says, “Have at it.” He crafts multifaceted plays that speak to the depth of his reality and teases and threatens his audience with dangerous truths. In No Man’s Land, Pinter has Hirst attack Spooner, who may or may not be his old friend: “This is outrageous! Who are you? What are you doing in my house?”1 Hirst then launches into a monologue beginning: “I might even show you my photograph album. You might even see a face in it which might remind you of your own, of what you once were.”2 Pinter never fully resolves Spooner’s identity, but the mens’ actions towards each other are perfectly clear: with exacting language and wit, Pinter has constructed a magnificent struggle between the two for power and identity. In 1958, early in his career, Pinter wrote The Hothouse, an incredibly funny play based on a traumatic personal experience as a lab rat at London’s Maudsley Hospital, proudly founded as a modern psychiatric institution, rather than an asylum. The story of The Hothouse, set in a mental hospital of some sort, is centered around the death of one patient, “6457,” and the unexplained pregnancy of another, “6459.” Details around both incidents are very murky, but varying amounts of culpability for both seem to fall on the institution’s leader, Roote, and his second-in- command, Gibbs. -
Edition 3 | 2018-2019
2018-2019 SEASON Letter from the Chairman 7 Letter from the CEO 9 Legally Blonde The Musical 10 Tap Dogs 22 Palace Theater Staff Directory 35 Program information for tonight’s presentation inside. The Palace would like to thank all of its Program advertisers for their support. ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents ©2019. All rights reserved. Printed in the U.S.A. letter from the chairman s Chairman of the Board of Directors for the Palace A Theater, I am grateful for the opportunity to serve this organization, and enthusiastic about its future. Committed to fostering the Palace’s success, the Board of Directors is currently working on a new three-year Strategic Business Plan, which will chart out the artistic, organizational, and financial goals for the theater. Focusing on expanded arts and educational programming, marketing, capital projects, and financial development, the objective of the plan is to continue expanding our current entertainment initiatives and ensure financial sustainability and growth for the Palace for years to come. Artistic success and economic stability help us provide a welcoming stage for both local and national arts groups. While we consistently seek out top-tier productions and popular artists, we also look to foster the next generation of talent, through our partnership with the Waterbury Arts Magnet Schools and our own educational programs. -
Groundhog Day
GROUNDHOG DAY TEACHING RESOURCES JUL—S E P 2 016 CONTENTS Company 3 Old Vic New Voices Education The Old Vic The Cut Creative team 7 London SE1 8NB Character breakdown 10 E [email protected] @oldvicnewvoices Synopsis 12 © The Old Vic, 2016. All information is correct at the Themes 15 time of going to press, but may be subject to change Timeline – Musicals adapted from American and 16 Teaching resources European films Compiled by Anne Langford Design Matt Lane-Dixon Rehearsal and production Interview with illusionist and Old Vic Associate, Paul Kieve 18 photography Manuel Harlan Interview with David Birch and Carolyn Maitland, 24 Old Vic New Voices Alexander Ferris Director Groundhog Day cast members Sharon Kanolik Head of Education & Community From Screen to Stage: Considerations when adapting films to 28 Ross Crosby Community Co-ordinator stage musicals Richard Knowles Stage Business Co-ordinator A conversation with Harry Blake about songs for musicals and 30 Tom Wright Old Vic New Voices Intern plays with songs and the differences between them. Further details of this production oldvictheatre.com Practical exercises – Screen to stage 33 A day in the life of Danny Krohm, Front of House Manager 37 Bibliography and further reading 39 The Old Vic Groundhog Day teaching resource 2 COMPANY Leo Andrew David Birch Ste Clough Roger Dipper Georgina Hagen Kieran Jae Julie Jupp Andy Karl Ensemble Ensemble Ensemble Ensemble Ensemble Ensemble Ensemble Phil Connors (Jenson) (Chubby Man) (Jeff) (Deputy) (Nancy) (Fred) (Mrs Lancaster) AndrewLangtree -
A Study of Certain Plays by Harold Pinter
COMEDY IN THE SEVENTIES: A STUDY OF CERTAIN PLAYS BY HAROLD PINTER Annette Louise Combrink A thesis submitted to the Facul ty of Arts, Potchefstroom University for Christian High er Education in fulfilment of the requirements for the degree of Doctor Litterarum Promoter: Prof. J.A. Venter Potchefstroom November 1979 My grateful thanks to: My promoter for painstaking and valued guidance The staff of the Ferdinand Postma Library f o r their invaluable cheerful assistance My typist , Rina Kahl My colleagues Rita Ribbens and Rita Buitendag My l ong-suffering husband and children My parents and parents-in-law for their constant encouragement CONTENTS 1 A SURVEY OF PINTER CRITICISM 1 1.1 Pinter's critical reputation: 1 bewildering variety of critical responses to his work 1.1.1 Reviews: 1958 2 1.1. 2 Reviews: 1978 3 1.1.3 Continuing ambiguity of response 4 Large number of critical \;,arks: 5 indicative of the amount of interest shown Clich~s and commonplaces in 6 Pinter criticism 1.2 Categories of Pinter criticism 7 1. 2.1 Criticism dealing with his dramatic 7 language 1. 2. 2 Criticism dealing with the obscurity 14 and opacity of his work 1. 2. 3 Criticism based on myth and ritual 18 1. 2 . 4 Criticism based on. his Jewishness 20 1. 2. 5 Pinter's work evaluated as realism 22 1.2. 6 Pinter's work evaluated as Drama of 24 ~ the Absurd 1.2. 7 The defective morality of his work 28 1.2 .8 Pinter and comedy: a preliminary 29 exploration to indicate the incom= plete nature of criticism on this aspect of his work 1,3 Statement o f intention: outline of 45 the main fields of inquiry in this study 1.4 Justification of the choice of plays 46 for analysis 2 WHY COMEDY? 4 7 2.1 The validity of making generi c 47 distinctions 2.2 Comedy as a vision of Zife 48 2.3 The continuing usefulness of genre 50 distinctions in literary criticism 2.4 NeopoZoniaZism 52 2.4.1 Tragicomedy 52 2.4.2 Dark comedy and savage comedy 54 2.4 . -
Harold Pinter: the Dramatist and His World
Harold Pinter: The Dramatist and His World Background Nobel winner, Harold Pinter (1930- 2008) was born in London, England in a Jewish family. Some of the most recognizable features in his plays are the use of understatement, small talk, distance, and silence. These devices are employed to convey the substance of a character’s thoughts. At the outbreak of World War II, Pinter was evacuated from the city to Cornwall; to be wrenched from his parents was a traumatic event for Pinter. He lived with 26 other boys in a castle on the coast. At the age of 14, he returned to London. "The condition of being bombed has never left me," Pinter later said. At school one of Pinter's main intellectual interests was English literature, particularly poetry. He also read works of Franz Kafka and Ernest Hemingway, and started writing poetry for little magazines in his teens. The seeds of rebellion in Pinter could be spotted early on when he refused to do the National Service. As a young man, he studied acting at the Royal Academy of Dramatic Art and the Central School of Speech and Drama, but soon left to undertake an acting career under the stage name David Baron. He travelled around Ireland in a Shakespearean company and spent years working in provincial repertory before deciding to turn his attention to playwriting. Pinter was married from 1956 to the actress Vivien Merchant. For a time, they lived in Notting Hill Gate in a slum. Eventually Pinter managed to borrow some money and move away. Although Pinter said in an interview in 1966, that he never has written any part for any actor, his wife Vivien frequently appeared in his plays. -
TIMES, BETRAYAL and a KIND of ALASKA PEREIRA, Luís Alberto
http://dx.doi.org/10.1590/S0104-93132002000100005 MEMORY AS DISCOURSE IN HAROLD PINTER’S OLD LÉVI-STRAUSS, Claude. Tristes Trópicos. Lisboa: Edições 70. 2004. TIMES, BETRAYAL AND A KIND OF ALASKA PEREIRA, Luís Alberto. Drama biográfico – “Hans Staden”. Coprodução luso-brasileira. 1999. Carla Ferreira de Castro RIBEIRO, Darcy. O Povo Brasileiro – a formação e o sentido do Brasil. São Universidade de Évora Portugal Paulo: Companhia das Letras. 2.ª Edição. 1995. [email protected] ROUCH, Jean. “Les Maîtres Fous”. Documentário/filme. 1955. Consultado a 15 de Maio de 2012: Abstract http://www.veoh.com/watch/v14179347tanDtaPa?h1=Jean+Rouch+%3 A+Les+ma%C3%AEtres+fous+-+The+mad+masters This paper aims at developing the topic of identity and the narration of SANTIAGO, Silviano. “Mário, Oswald e Carlos, intérpretes do Brasil”. ALCEU – v.5 – n.10 – Jan./Jun. 2005. P.p. 5 – 17. Consultado a 15 de Maio de the self through the other in Harold Pinter’s plays Old Times, Betrayal and A Kind . In these plays Pinter deploys strategies to convey multiple implications 2012: of Alaska which are based on the power of memory in which the structure of the plays is http://revistaalceu.com.puc-rio.br/media/alceu_n10_santiago.pdf concocted. STADEN, Hans. 1520-ca 1565. Viagem ao Brasil. Rio de Janeiro: Academia Brasileira, 1930. 186 P. Consultado a 15 de Maio de 2012: http://purl.pt/151 Pinter, Language, Silence, Memory, Time STOLLER, Paul. “Artaud, rouch, and The cinema of Cruelty”. 1992. Key words: Visual Anthropology Review. Volume 8, n. º 2. “Every genuinely important step forward is accompanied by a return to the beginning...more precisely to a renewal of the beginning. -
THE COLLECTION, the LOVER and OLD TIMES Dr
Global Journal of Arts, Humanities and Social Sciences Vol.4, No.3, pp.29-38, February 2016 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) HOME AS A BATTLEFIELD: POWER AND GENDER IN HAROLD PINTER'S THE COLLECTION, THE LOVER AND OLD TIMES Dr. Abdulaziz H. Alabdullah Assistant Professor, Kuwait University - Faculty of Arts - Department of English Language and Literature ABSTRACT: Harold Pinter has been hailed as a dramatist among the half-dozen best dramatists, able to use his considerable wit in unusual, resonant and riveting ways. The central theme of his work is one of the dominant themes of twentieth-century art: the struggle for meaning in a fragmented world. His characters are uncertain of whom or what they understand, in whom or what they believe, and who or what they are. Pinter’s characters operate by a stark ‘territorial imperative,' a primal drive for possession. In his plays, the struggle for power is an atavistic one between male and female. Hence sexuality as a means of power and control is our priority in discussing a select set of Pinter's playscripts. We here examine the element of sexuality in these chosen texts analysing the relationship between male and female characters, as they snipe and sling potshots across the most intimate of all battlefields: our home and castle. The texts are studied individually, in sequence, in an attempt to lay bare the technique and leverage of sexual negotiations in Pinter's work. KEYWORDS: Gender, Power, Sexuality, Relationships, Harold Pinter Introduction: Three plays by Harold Pinter, not perhaps his best known, The Collection, The Lover and Old Times, show how the playwright cruelly, but critically, investigates how sensible men have to get their rocks off, no matter what the social cost.