The Dumb Waiter

Total Page:16

File Type:pdf, Size:1020Kb

The Dumb Waiter ‘We send him up all we’ve got and he’s not satisfied. No, honest, THE it’s enough to make the cat laugh’ Ben and Gus are seasoned hitmen awaiting details of their next target in the basement of a supposedly abandoned cafe. DUMB When the dumbwaiter begins sending them mysterious food orders, the killers’ waiting game starts to unravel. Daniel Mays and David Thewlis star in Harold Pinter’s WAITER darkly funny, insidiously menacing The Dumb Waiter. A play by HAROLD PINTER An Old Vic production | 07–10 Jul 2021 Daniel Mays includes: I’m Thinking Ashes to Ashes. He directed End). Television includes: Gus of Ending Things, Rare 27 plays including: Exiles, Unprecedented, Sitting, Theatre includes: Beasts, Guest of Honour, Oleanna, Celebration, The Talking Heads. Jeremy The Caretaker (The Old Eternal Beauty, The Mercy, Room. Awards include the Herrin was previously Artistic Vic); The Red Lion (National Wonder Woman, The Theory Nobel Prize for Literature, Director of Headlong, Deputy Theatre); Mojo (West End); of Everything, Legend, the Companion of Honour Artistic Director of the Royal The Same Deep Water as Anomalisa, Macbeth, for services to Literature, Court and an Associate Me, Trelawny of the Wells, Stonehearst Asylum, The the Legion D’Honneur, the Director at Live Theatre, Moonlight (Donmar); M.A.D Fifth Estate, Zero Theorem, European Theatre Prize, Newcastle upon Tyne. (Bush); Hero, Scarborough, War Horse, The New the Laurence Olivier Award Motortown, The Winterling, World, Kingdom of Heaven, and the Molière D’Honneur Hyemi Shin Ladybird (Royal Court). Film The Boy in the Striped for lifetime achievement. Set & Costume includes: 1917, Fisherman’s Pyjamas, Besieged, The Big In 1999, he was made a Theatre includes: The End of Friends, Swimming with Men, Lebowski, Seven Years in Companion of Literature Eddy (Unicorn Theatre); The Rogue One: A Star Wars Tibet, Naked, Harry Potter by the Royal Society of Seagull, Herons, Morning, Story, The Limehouse Golem, Series. Television includes: Literature. Desire Under the Elms, A Infiltrator, Dad’s Army, Nanny Landscapers, Human Midsummer Night’s Dream, McPhee and the Big Bang, Resources, Barkskins, Big Jeremy Herrin Secret Theatre show 1, 2, 4, Vera Drake, Atonement, Red Mouth, The Feed, Fargo, An Director 5, 6, 7 (Lyric Hammersmith); Riding, The Bank Job, Made Inspector Calls, The Street II, Theatre includes: All My Once in a Lifetime, Dirty in Dagenham. Television Endgame, Dandelion Dead, Sons (The Old Vic); The Butterfly, Sizwe Banzi is includes: Des, Code 404, Prime Suspect. Visit, The Plough and the Dead (Young Vic); The Temple, Mother’s Day, Do Stars; (National Theatre) Brink (Orange Tree); Made Not Disturb, Good Omens, People, Places and Things Visible (The Yard); He Wore Against the Law, Born to Kill, CREATIVE TEAM (National Theatre/Headlong/ a Red Hat, Playland (New Guerrilla, Line of Duty, Mrs West End/UK tour/New Perspectives Theatre). Biggs, The Great Fire, Public Harold Pinter York); This House (National Dance includes: New Work Enemies, Funland, Plus One, Writer Theatre/Chichester/West New Music (Royal Ballet); White Girl, Ashes to Ashes, Harold Pinter was born in End); Labour of Love — Life’s Witness (ROH/Linbury The Street. London in 1930. He lived Olivier Award for Best Studio Theatre); Unearth with Antonia Fraser from Comedy, The Nether, That (National Ballet of Canada); David Thewlis 1975 until his death on Face, South Downs, Absent The Kreutzer Sonata (Ballet Ben Christmas Eve 2008 (they Friends (West End); Wolf Moscow); Swan Lake/Loch Theatre includes: The were married in 1980). Hall, Bring Up the Bodies na hEala — Irish Times Children’s Monologues, Harold Pinter wrote 29 plays (RSC/West End/Broadway); Award for Best Costume Ice Cream (Royal Court); including: The Birthday Party, Junkyard, The Absence of (Dublin Theatre Festival/ Anomalisa (Royce Hall, The Dumb Waiter, A Slight War, The Nether, Observe Sadler’s Wells). Opera LA); The Sea (National Ache, The Hothouse, The the Sons of Ulster..., The includes: La Damnation Theatre); Buddy Holly Caretaker, The Collection, House They Grew Up In de Faust (Glyndebourne at the Regal (New Vic); The Lover, The Homecoming, (Headlong); The Tempest Opera); The Skating Ruffian on the Stairs, The Old Times, No Man’s Land, (Shakespeare’s Globe); Rink (Garsington Opera); Woolley (Farnham Theatre); Betrayal, A Kind of Alaska, Almost Famous (The The Return of Ulysses The Lady and the Clarinet One For The Road, The New Old Globe); Noises Off (ROH/Roundhouse). (Kingshead Theatre). Film World Order, Moonlight, (Lyric Hammersmith/West Prema Mehta Philadelphia Story, Cloaca, Master Builder, Dr. Seuss’s Camera Operators Lighting Hamlet (The Old Vic); Noises The Lorax, The Hairy Ape, Josh Reeves* Theatre credits include: Off (The Old Vic/West End), Future Conditional (The Scott Nolan The Comeback, A Day The Winslow Boy (The Old Vic); Girl from the North Jack Sheffield in the Death of Joe Egg Old Vic/Broadway); This Is Country (The Old Vic/West Vision Mixing (West End); The Winter’s Our Youth, Passion Play, End); The Divide (The Old James Percival* Tale (RSC); Hymn Birdsong, On an Average Vic/EIF). Film includes: The Sound and (Almeida); Swive [Elizabeth], Day, Lobby Hero, Someone Kid Who Would Be King, Broadcast Technician Bartholomew Fair, Richard Who’ll Watch Over Me, Up Emma (Working Title Films). Sam Palmer II (Shakespeare’s Globe); for Grabs, Twelfth Night, My Sound No.1 A History of Water in the One and Only (West End); Samantha Mullis Middle East, Superhoe Macbeth, A Day in the Death CAST Stage Crew (Royal Court); Things of Dry of Joe Egg, King Lear (West Gus Keith Hayes Hours (Young Vic); Fame End/Broadway); The Shape Daniel Mays Production Manager (UK tour/Peacock Theatre); of Things, Electra, The Ben Dominic Fraser* East is East (Northern Stage/ Seagull (Broadway); Mother David Thewlis Deputy Production Nottingham Playhouse); of Him (Park); A Christmas Manager Chicken Soup (Sheffield Carol (RSC); Shadowlands PRODUCTION Katina Ellis* Crucible); A Passage to India (Chichester); A p o l l o 11 (Rose Writer Deputy Head of Stage (Royal and Derngate/UK Bowl, LA). Harold Pinter Aran Morrison* tour); Love Lies & Taxidermy, Director Stage Chargehand Growth, I Got Superpowers Jessica Ronane Jeremy Herrin Karina Olsen* for My Birthday (Paines CDG Set & Costume Head of Lighting Plough). Prema is Founder of Casting Hyemi Shin Andrew Stuttard* Stage Sight. She is a Trustee For OLD VIC: IN CAMERA Lighting Deputy Head of the Unicorn Theatre and — Dr. Seuss’s The Lorax, Prema Mehta of Lighting an Artistic Associate at the Faith Healer, Three Kings, Sound Avril Cook* Young Vic. Lungs. For The Old Vic: Fergus O’Hare Deputy Head 4000 Miles, Lungs, A Very Casting of Lighting Fergus O’Hare Expensive Poison, Present Jessica Ronane CDG Tamsyn Mackay* Sound Laughter, All My Sons, The Company Stage Manager Head of Wardrobe Theatre includes: Endgame American Clock, SYLVIA, Alex Constantin Fiona Lehmann* in a double bill with Rough A Monster Calls, Mood Deputy Stage Manager Deputy Head for Theatre II, Rosencrantz Music, Fanny & Alexander, Maria Gibbons of Wardrobe & Guildenstern Are Dead, A Christmas Carol, Lighting Programmer Louise Askins* Hamlet, The Tempest, The Woyzeck, Rosencrantz & Alex Riley* Entertainer, Inherit the Wind, Guildenstern Are Dead, King Lighting Operator *Old Vic staff Richard II, Aladdin, The Lear, The Caretaker, The Erin Rutter BAGDAD CAFE Adlon’s iconic 1987 OV MULTIBUY 17 JUL–28 AUG film Bagdad Cafe to MORE WAYS Get £5 off each e-ticket ‘It’s showtime at the The Old Vic stage with TO ACCESS (priced £20–£65) when you Bagdad Gas and Oil Cafe!’ their signature playful, THE OLD VIC book two or more shows at visual and emotional style. the same time. A joyful celebration of OV LOCAL togetherness, hope and Bagdad Cafe will be live Live in Lambeth TO BOOK VISIT friendship. Emma Rice streamed for one week as or Southwark? oldvictheatre.com (Romantics Anonymous, part of our OLD VIC: IN Sign up to our free Wise Children) and the CAMERA series and there Membership for 20% off All concessions are limited and subject to availability. There is a £1.50 Wise Children Company will also be a live audience up to four tickets per show transaction fee if you book online. bring Percy and Eleonore at The Old Vic. and 20% off all food & drink. .
Recommended publications
  • Harold Pinter Is the Pre-Eminent Stylist of Post-War British Theatre, And
    Pinter and style by Harry Derbyshire Harold Pinter’s style is both impressive and contagious, and the dramatists who have emerged in his wake have often wrestled to free themselves from his influence, just as he himself has been periodically accused of self-parody. What was at first taken to be hyper-realistic or ‘tape-recorder’ dialogue, capturing the manifold hesitations, inaccuracies and repetitions of everyday speech, has become an ever-more recognisable mode of writing which maximises the allusive power of language while, often, denuding it of literal meaning. Pinter’s particular way with words is exemplified by his early revue sketches, as much exercises in style as studies in character, arguably the best of them being ‘Last to Go’. The sketch treats its audiences to a desultory conversation between the barman of an all-night coffee stall and his only customer, a newspaper seller who has recently packed up for the night. Their subject is which newspaper was the last to be sold: Man Yes, it was the ‘Evening News’ that was the last to go tonight. Barman Not always the last though, is it, though? Man No. Oh no. I mean sometimes it’s the ‘News’. Other times it’s one of the others. No way of telling beforehand. Until you’ve got your last one left, of course. Then you can tell which one it’s going to be. Barman Yes. Pause. Man Oh yes.[i] The pointlessness of the conversation is the point of the drama: the need for human contact, rather than any looked-for practical outcome, is what is driving the dialogue.
    [Show full text]
  • Chapter 36 Harold Pinter: the Dramatist and His World
    Chapter 36 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, reticence , 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.
    [Show full text]
  • March 2009.Pmd
    Number 157 March 2009 The newsletter of London Drama Two Primary Reviews for your diary There are currently for further learning two prestigious reviews at the secondary LONDON DRAMA of the Primary stage’ rather than by Courses & Workshops Curriculum going on at their intrinsic value.” the moment: The Wed 4 Mar; 7-9pm Cambridge Primary The Cambridge Voices in the Park (Primary) Review initiated by the report identifies University of Cambridge areas of at Central School in 2006 and led by convergence with Professor Robin the interim Rose * * * Alexander; and the report (like the need Government’s to regroup the Wed 11 Mar; 6.30-8.30pm Independent Review of primary curriculum Drama with EAL Students the Primary Curriculum into areas of study at Central School led by Sir Jim Rose. rather than Each report is due to traditional subjects) * * * be published this year. but also important differences which reflect the reviews’ Sat 14 Mar; 10-1.15pm Is there a difference between the contrasting remits, scope, Half Day Workshop: two reports, and if so, what is it? evidence and degrees of Hoipolloi & WebPlay According to the authors of the independence. The Cambridge at Unicorn Theatre Cambridge Review, the answer is review is rather less sanguine one of remit and focus: about the problems of the existing * * * primary curriculum, and does not “..there is a sense in which the exempt current policies from Thurs 19 Mar; 6.30-8.30pm very focused remit of Rose, and comment. It asks whether the Drama & SEN students (KS1/2) the number of matters which are Rose review is more about at Bloomsbury Theatre apparently to be taken as given, curriculum rearrangement than may encourage the view that the reform, with educational aims * * * two enquiries are incompatible – added after the event rather than though we hope not.
    [Show full text]
  • Sundowning by Nessah Muthy
    Sundowning by Nessah Muthy Betty . .Hazel Maycock Intrepid plays by fearless women since 1991 Teresa . Nadia Nadif Alyssa . Aasiya Shah Kali Theatre develops and tours ground breaking, Director . .Helena Bell thought provoking, contemporary theatre by women Writer . Nessah Muthy writers of South Asian descent. Designer . .Rajha Shakiry Lighting Designer . Pablo Fernandez Baz We seek out and nurture talented writers, bringing their experience and stories to audiences from all backgrounds to transform the theatre Sound Designer . .Dinah Mullen landscape and better reflect modern Britain. Video Designer . .Daniel Denton Sundowning Choreographer . Yarit Dor We have been championing women writers from a South Asian background for over twenty five years. We actively encourage our Production Manager . .Kate Jones by Nessah Muthy writers to reinvent the theatrical agenda and have gained a reputation Company Stage Manager . Charlotte R L Cooper for staging inspiring and provocative new theatre. Wardrobe Support . Alex Horner Our new Discovery and Festival Writer Development Programmes Kali Theatre encourage and support the creation of new work through writing Artistic Director . Helena Bell workshops, dramaturgical support and public readings. Executive Director . .Christopher Corner Administrator. Samia Djilli Publicist . Nancy Poole Find our more and join our mailing list at kalitheatre.co.uk Marketing . Reshmi Mayer Email us [email protected] Thanks to the staff of Plymouth Theatre Royal for all their support in creating this Like us facebook.com/kalitheatureUK production of Sundowning. Follow us @KaliTheatreUK Thanks to Pursued by a Bear who first commissioned Sundowning when under previous AD Helena Bell and in particular Julia Tymukas, Thomas Kell, Katharine Ives and Cathy Westbrooke who helped support early sharings.
    [Show full text]
  • Muriel SPARK's the HOTHOUSE by the EAST RIVER
    18 ZNUV 2018;58(1);18-30 Irena Księżopolska Akademia Finansów i Biznesu Vistula w Warszawie SPECTRAL REALITY: MURIEL SPARK’S THE HOTHOUSE BY THE EAST RIVER Summary The essay deals with the concept of the supernatural in Muriel Spark’s novel The Hothouse by the East River, in which all the major characters appear to be dead, while leading apparently comfortable lives. The essay will examine Spark’s paradigm of the mundane supernatural, that is, representation of absurd and impossible as quotidian elements of life. The enigma of the plot (the strange way in which Elsa’s shadow falls without obeying the rules of physics) is not solved by the end of the novel, but rather by-stepped by revealing a grander mystery, that of her otherworldly status. This peculiarity is of high importance for Spark, who is not interested in solution, but in the way people (or characters, to be more precise) react to mystery and attempt – often in vain – to solve it. But Spark’s novel also pushes the reader to realize that what s/he may assume to be irrelevant from the perspective of eter- nity – namely, our mundanely absurd life and the imperfect memory that tries to contain it – still very much matter and may not be dismissed or reduced to a mere footnote to the main text of divine design. Key words: Muriel Spark, postmodernism, supernatural, narrative, memory, absurd, ghost story. Spark’s riddles Muriel Spark’s fictions are usually examined through the prism of religion, since it was after her conversion to Catholicism that she began writing novels.
    [Show full text]
  • The Hothouse HAROLD PINTER
    CRÉATION The Hothouse HAROLD PINTER 20 21 GRAND THÉÂTRE › STUDIO 2 CRÉATION The Hothouse HAROLD PINTER WEDNESDAY 24, THURSDAY 25, FRIDAY 26, TUESDAY 30 & WEDNESDAY 31 MARCH & THURSDAY 1 & FRIDAY 2, TUESDAY 6, WEDNESDAY 7, FRIDAY 9 & SATURDAY 10 APRIL 2021 › 8PM WEDNESDAY 7 & SATURDAY 10 APRIL 2021 › 3PM SUNDAY 11 APRIL 2021 › 5PM – Running time 2h00 (no interval) – Introduction to the play by Janine Goedert 30 minutes before every performance (EN). – This performance contains stroboscopic lights. 3 GRAND THÉÂTRE › STUDIO 4 With Tubb Pol Belardi Lamb Danny Boland Miss Cutts Céline Camara Lobb Catherine Janke Lush Marie Jung Roote Dennis Kozeluh Gibbs Daron Yates & Georges Maikel (dance) – Directed by Anne Simon Set design Anouk Schiltz Costume design Virginia Ferreira Music & sound design Pol Belardi Lighting design Marc Thein Assistant director Sally Merres Make-up Joël Seiller – Wardrobe Manuela Giacometti Props Marko Mladjenovic – Production Les Théâtres de la Ville de Luxembourg 5 GRAND THÉÂTRE › STUDIO THE HOTHOUSE The Hothouse is a play about unchecked (state)-power and the decisions leaders make – spurious decisions that are potentially dangerous in the name for the preservation of a society. Somewhere in an authoritarian state. Former military Colonel Roote runs an institution where bureaucracy rules and the inmates are reduced to numbers. When one Christmas day, the cantankerous Colonel is confronted by a double crisis with the death of one inmate and the pregnancy of another, he finds himself increasingly cornered and sees the system he obeys so respectfully slip away. The Hothouse is a blackly comic portrait of the insidious corruption of power and demonstrates how far people will go to keep a system alive that is long condemned to fail.
    [Show full text]
  • Full Casting Announced for Rose Theatre Kingston's
    FULL CASTING ANNOUNCED FOR ROSE THEATRE KINGSTON’S CHRISTMAS SHOW ALICE IN WINTERLAND Rose Theatre Kingston presents Alice in Winterland Based on Alice’s Adventures in Wonderland and Through the Looking Glass by Lewis Carroll Adapted and directed by Ciaran McConville Music and lyrics by Eamonn O’Dwyer Set and Video Concept: Timothy Bird; Costume Designer: Peter Todd; Lighting Designer: Tim Mascall; Sound Designer: Leigh Davies; Design Consultant: David Farley; Design & Video Administrator: Hayley Egan; Video Designer: Dan Denton; Associate Video Designer: Letty Fox; Illustrator: Lucie Arnoux; Puppet Director: Yvonne Stone; Fight Director: Lyndall Grant; Choreographer: Jamie Neale; Voice Coach: Josh Mathieson; Casting Directors: Lucy Jenkins CDG & Sooki McShane CDG; Associate Director: Sarah Hayhurst; Children’s Casting: Liberty Buckland and Jody Ellen Robinson; Clowning Consultant: Stephen Sobal; Puppet Maker: Nick Ash Rose Theatre Kingston Thu 7 Dec – Sun 7 Jan 2018 Press Night: Fri 15 Dec 7pm The Rose is delighted to announce full casting for its Christmas show, Alice in Winterland, based on Lewis Carroll’s timeless books Alice Adventures in Wonderland and Through the Looking Glass. Following the success of last year’s enchanting adaptation of The Wind in the Willows and 2015’s festive hit A Christmas Carol, Ciaran McConville returns to direct a cast of local young actors from the Rose Youth Theatre led by a team of professional actors including Daniel Goode (Father/Mad Hatter), Amanda Gordon (Cheshire Cat/Mother), Jonathan Andrew Hume (Blue Caterpillar/Knave), Tony Timberlake (White Knight/Isumbras) and Susannah van den Berg (Aunt Margaret/Queen of Hearts). The production opens on the Fri 15 Dec, with previews from Thu 7 Dec, and runs until Sun 7 Jan.
    [Show full text]
  • 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.
    [Show full text]
  • A Foucaldian Reading of Harold Pinter's Old Times
    A FOUCALDIAN READING OF HAROLD PINTER’S OLD TIMES Yrd. Doç. Dr. İfakat Banu AKÇEŞME* Abstract This paper aims to examine the power struggle initiated for dominance, the possession of territory and love between the characters Deeley, Kate and Anna in Harold Pinter`s play Old Times in the light of Foucault`s theory on discourse, power, knowledge and resistance. It explains how the on-going battle is carried out through the production of discourses and counter-discourses, the fabrication of truth and knowledge and the reconstruction and deconstruction of past memories. The characters exert and resist the power by employing various strategies and maneuvers including subjugation, victimization and exploitation. Nevertheless, this is a battle with no ultimate winner and loser since power rapidly keeps changing hand, and the alliances formed by the characters against each other are constantly altering and redesigned. Key Words: Foucault, Discourse, Power, Knowledge, Resistance, Old Times HAROLD PINTER’IN ESKİ ZAMANLAR ADLI OYUNUNUN FOUCAULTCU SÖYLEM BAĞLAMINDA İNCELENMESİ Öz Bu çalışma Harold Pinter’in Eski Zamanlar adlı tiyatro eserinde karakterler Deeley, Kate ve Anna arasındaki sevgi ve mekana sahip olmak ve birbirleri üzerinde hakimiyet kurmak için yürütülen güç mücadelesini Foucault’nun söylem, güç, bilgi ve direnç üzerine olan teorisi ışığında ele almayı amaçlamaktadır. Karakterlerin bu mücadeleyi söylem ve karşı söylem üreterek, bilgi ve gerçeklik imal ederek ve geçmiş hatıraları bozup yeniden inşa ederek nasıl sürdürdükleri tartışılacaktır. Karakterler boyun eğdirme, istismar ve mağdur etmenin de dahil olduğu çeşitli manevralara ve stratejilere başvurarak hem güç uygulamakta hem de güce karşı koymaktadırlar. Ancak yine de karakterler arasındaki bu savaş, kazananı ve kaybedeni olmayan bir mücadeledir çünkü güç, oyunun sonuna kadar sürekli olarak el değiştirmekte ve karakterlerin birbirine karşı kurdukları ittifaklar sürekli değişerek yeniden dizayn edilmektedir.
    [Show full text]
  • 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 .
    [Show full text]
  • Stephens Plays: 2: One Minute; Country Music; Motortown; Harper
    Simon Stephens Plays: 2 One Minute, Country Music Motortown, Pornography, Sea Wall One Minute: ‘Set in London in the aftermath of the disappearance of an eleven-year-old girl, One Minute brings together the girl’s mother, an unreliable witness, a student/barmaid and two investigating officers . the writing cleverly suggests how much the characters would like to connect but never really can.’ Guardian Country Music ‘spotlights four fateful moments in the life of Jamie Carris, an engaging but violent south Londoner. The play unfolds in a series of tightly focused two-handers, set before, during and after the prison sentences he has served for glassing one man and for killing another.’ Independent Motortown: ‘Danny – a squaddie who has served in Basra – is bringing the war back home [to] an England where the “war on terror” has become a war waged using the tactics of the terrorists. It is also a place of dubious moralities, small-time arms dealers and middle-class swingers and anti-war protesters. A searingly honest play written with a deadly coiled energy.’ Guardian Pornography: ‘Set in July 2005, between the announcement that London had been awarded the Olympics and the July 7 bombings, it tells seven entwining stories, including the imagined story of one of the bombers journeying towards London to commit an act of terrorism.’ Guardian Sea Wall: ‘A quietly gripping monologue about grief and belief . this play is like a deceptive calm blue sea beneath which lurks a ferocious riptide of sorrow.’ Guardian Simon Stephens is a British writer whose theatrical career began in the literary department of the Royal Court Theatre where he ran its Young Writers’ Programme.
    [Show full text]
  • The Limehouse Golem’ by
    PRODUCTION NOTES Running Time: 108mins 1 THE CAST John Kildare ................................................................................................................................................ Bill Nighy Lizzie Cree .............................................................................................................................................. Olivia Cooke Dan Leno ............................................................................................................................................ Douglas Booth George Flood ......................................................................................................................................... Daniel Mays John Cree .................................................................................................................................................... Sam Reid Aveline Mortimer ............................................................................................................................. Maria Valverde Karl Marx ......................................................................................................................................... Henry Goodman Augustus Rowley ...................................................................................................................................... Paul Ritter George Gissing ................................................................................................................................ Morgan Watkins Inspector Roberts ...............................................................................................................................
    [Show full text]