Harold Pinter Plays 2: the Caretaker; Night School; the Dwarfs

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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.
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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.
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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.
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6 X 10.5 Long Title.P65 .P65
Cambridge University Press 978-0-521-71373-3 - The Cambridge Companion to Harold Pinter, Second Edition Edited by Peter Raby Index More information MAIN INDEX Abrezkov, Maxim 191–2 213, 216–18, 223–4, 228, 250–4, 297, absurdism 74, 76, 123–4, 252 301, 303 Adams, Tim 272 All That Fall 77 Adler, Larry 269 Embers 77 Afsharov, Yuri 172, 182, 191 Krapp’s Last Tape 77, 204, 216–17, 219, Aldwych Theatre 166, 298 223–5 Allen, Keith 60 Murphy 199 Almeida Theatre 56, 127 Play 77 Althusser, Louis 284 That Time 77 Amis, Kingsley 28 Waiting for Godot 28, 74, 76–7, 190, Amnesty International 31, 107, 110, 112, 195, 198 116, 306 Watt 77, 198–9, 201, 204 Anderson, Lindsay 28–9 Belton, Cathy 211 Anderson, Michael 91 Benn, Tony 276 ‘Angry Young Men’ 28, 74–5 Bensky, Lawrence M. 91 Annan, Kofi 106 Bentley, Eric 28 Arden, John 39, 44, 74–5 Bernhardt, Sarah 147 Live Like Pigs 39, 75 Bertish, Suzanne 150, 157 Serjeant Musgrave’s Dance 39 Billington, Kevin 148 The Waters of Babylon 275 Billington, Michael 61, 63, 76, 80, 112, 116, Atwood, Margaret 123, 200, 217, 223, 246, 259, 266, 273, The Handmaiden’s Tale 89 277, 298 Auden, W. H. 162, 225–6, 309 The Birthday Party (band) 276 For the Time Being 225 black comedy 51, 54, 110, 136, 175 Austen, Jane 167 Blair, Tony 105, 117, 226, 269, 270 Ayckbourn, Alan 44, 150, 275 Bleasdale, Alan Ayer, A. J. 29 Jake’s Progress 276 Boal, Augusto 305 Barker, George 241 Bogarde, Dirk 91 Barker, Howard 242 Bolt, Robert 97 Barker-Caven, Michael 211 Bond, Edward 68, 138, 242, 298, 302 Baron, David (Harold Pinter’s stage Lear 242
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The Dramatic World Harol I Pinter
THE DRAMATIC WORLD HAROL I PINTER RITUAL Katherine H. Bnrkman $8.00 THE DRAMATIC WORLD OF HAROLD PINTER By Katherine H. Burkman The drama of Harold Pinter evolves in an atmosphere of mystery in which the surfaces of life are realistically detailed but the pat terns that underlie them remain obscure. De spite the vivid naturalism of his dialogue, his characters often behave more like figures in a dream than like persons with whom one can easily identify. Pinter has on one occasion admitted that, if pressed, he would define his art as realistic but would not describe what he does as realism. Here he points to what his audience has often sensed is distinctive in his style: its mixture of the real and sur real, its exact portrayal of life on the surface, and its powerful evocation of that life that lies beneath the surface. Mrs. Burkman rejects the contention of some Pinter critics that the playwright seeks to mystify and puzzle his audience. To the contrary, she argues, he is exploring experi ence at levels that are mysterious, and is a poetic rather than a problem-solving play wright. The poetic images of the play, more over, Mrs. Burkman contends, are based in ritual; and just as the ancient Greeks at tempted to understand the mysteries of life by drawing upon the most primitive of reli gious rites, so Pinter employs ritual in his drama for his own tragicomic purposes. Mrs. Burkman explores two distinct kinds of ritual that Pinter develops in counter point. His plays abound in those daily habit ual activities that have become formalized as ritual and have tended to become empty of meaning, but these automatic activities are set in contrast with sacrificial rites that are loaded with meaning, and force the charac ters to a painful awareness of life from which their daily routines have served to protect them.
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978–0–230–27845–5 Copyrighted Material
Copyrighted material – 978–0–230–27845–5 © William Baker 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–0–230–27845–5 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library.
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Principal Sources Consulted
Principal Sources Consulted Archival Harold Pinter Archive, British Library. Add. Ms 88880 (see British Library website: www.bl.uk). Printed Baker, William, Harold Pinter (London: Continuum, 2008). Baker, William and John C. Ross, Harold Pinter: A Bibliographical History (London: British Library and New Castle, DE: Oak Knoll Press, 2005). Baker, William and Stephen Ely Tabachnick, Harold Pinter (Edinburgh: Oliver & Boyd, 1973). Bakewell, Joan, The Centre of the Bed (London: Hodder & Stoughton, 2003). Billington, Michael, Harold Pinter, rev. edn (London: Faber, 2007). —— ‘Pinter, Harold (1930–2008)’, Oxford Dictionary of National Biography, Oxford University Press, Jan 2012, www.oxforddnb.com/view/article/100647. Codron, Michael and Alan Strachan, Putting It On: The West End Theatre of Michael Codron (London: Duckworth Overlook, 2010). Coleman, Terry, Olivier (London: Bloomsbury, 2005). Esslin, Martin, Pinter the Playwright (London: Methuen, 1982). Fay, Stephen, Power Play: The Life and Times of Peter Hall (London: Hodder & Stoughton, 1995). Fraser, Antonia, Must You Go?: My Life with Harold Pinter (London: Weidenfeld & Nicolson, 2010). Gale, Steven H. (ed.), The Films of Harold Pinter (Albany: State University of New York Press, 2001). —— Sharp Cut: Harold Pinter’s Screenplays and the Artistic Process (Lexington: University Press of Kentucky, 2003). Gale, Steven H. and Christopher Hudgins, ‘The Harold Pinter Archives II: A Des- cription of the Filmscript Materials in the Archive in the British Library’, The Pinter Review: Annual Essays 1995 and 1996, ed. Francis Gillen and Steven H. Gale (University of Tampa Press, 1997), 101–42. Gillen, Francis and Steven H. Gale (eds), The Pinter Review: Annual Essays (University of Tampa Press, 1987–2011).
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UNIVERSITY of HAW/-I,J' LIBRARY
UNIVERSITY OF HAW/-I,j' LIBRARY CONFUCIAN CULTURAL EDUCATION ON THE CHINESE PERIPHERY: HONG KONG'S NEW ASIA COLLEGE, 1949-1976 A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY DECEMBER 2003 By Grace Ai-Ling Chou Dissertation Committee: Daniel W.Y. Kwok, Chairperson Edward Davis Peter H. Hoffenberg Sharon A. Minichiello Ming-Bao Yue iii This dissertation is dedicated to my parents, for bearing patiently innumerable delays and failures to show up at family gatherings, and especially for loving me enough to hang onto me but believing in me enough to let me go- and in memory of my three grandparents who departed during the course of dissertation production, especially my mama, whose last clear questions to me were about the progress of my research, and my yeye, whose last clear smiles at me were over the future fun of calling me "Dr. Chou"- this dissertation is for them. iv Acknowledgments The intellectual, material, and personal debts incurred in the writing of a dissertation are too numerous to count and too complex to unweave. Those listed below are but some of those to whom thanks are due. I wish to thank first my dissertation committee members, without whom this project could not reach fruition: Edward Davis, Peter Hoffenberg, Sharon Minichiello, and Ming-bao Yue. Special thanks are due to my committee chai~person Daniel W.Y. Kwok, who willingly disturbed the peace of his retirement to lead me through this exhausting but exciting process.
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Student Handbook
WELCOME TO THE SOUTH LYON MIDDLE SCHOOLS South Lyon Middle Schools South Lyon, MI 48178 Dear Middle School Students and Parents: Welcome to Centennial and Millennium Middle Schools. This is where spirit, pride, and tradition are the bywords of a school in which the entire community takes pride. We encourage parents to become involved in our CHEERS volunteer program MSPO (parent organization), and/or our school improvement program. Information regarding these groups will be in monthly newsletters. As administrators of the middle schools, we issue a challenge to all of our students. That challenge is to be the best you can be. The staffs at Centennial and Millennium are here to help students become responsible, caring, and productive citizens. Students must believe in themselves to be successful in school. If they believe in themselves, and work hard, they can excel in academics, music, athletics, drama, or any activity in which they choose to participate. When students believe they can achieve their goal, they are successful in life. Our students are members of an outstanding school and we expect them to take pride in keeping it that way. The rules and policies in this handbook should help you understand what is expected. Your teachers and all staff members are here to give you the best education possible. If we all work together, we will make sure that Centennial and Millennium are the best. 1 8315.indd 1 6/20/20 3:53 AM Belief Statements People at South Lyon Community Schools have varied talents, needs, and potential, and learn accordingly. Learning, a life-long process, is the shared responsibility of students, parents, school staff, and community.
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Harold Pinter
Bibliothèque Nobel 2005 Bernhard Zweifel Harold Pinter Year of Birth 1930 Year of Death 2008 Language Englisch Award who in his plays uncovers the precipice under Justification: everyday prattle and forces entry into oppression's closed rooms Supplemental Information Secondary Literature • Antonia Fraser, Must You Go?: My Life with Harold Pinter (2010) • Raymond Armstrong, Kafka and Pinter (1999) • Michael Bi llington, The Life and Work of Harold Pinter (1997) • D. Keith Peacock, Harold Pinter and the New British Theatre (1997) • Martin S. Rega l, Harold Pinter: A Question of Timing (1995) • Penelope Prentice, The Pinter Ethic (1994) • Marc Silverstein, Harold Pinter and the Language of Cultural Power (1993) • Chittanranjan Misra, Harold Pinter (1993) • Steven H. Gale, Critical Essays on Harold Pinter (1990) • Susan Hollis Merritt, Pinter in Play (1990) • Volker Strunk, Harold Pinter (1989) • Elizabeth Sakellaridou, Pinter's Female Portraits (1988) • S tephen H. Gale, Harold Pinter (1986) • Joanne Klein, Making Pictures (1985) • Alan Bold, Harold Pinter, (1985) • Lucina Paquet Gabard, The D ream Structure of Pinter's Plays (1977) • R. Hayman, Harold Pinter (1975) • Jatherine H. Burkman, The Dramatic World of Harold Pinter (19 71) • W. Kerr, Harold Pinter (1968) • W. Baker and S.E. Tabachnik, Harold Pinter (1973) • R. Hayman, Theatre and Anti -Theatre (1979) • Martin Esslin, The Peopled Wound (1970) • J.R. Taylor, Anger and After (1969) • R üdiger Görner, Harold Pinters Welt, NZZ (1998) • Andreas Breitenstein, Der zerschlagene Spiegel, NZZ (2005) • Marion Löhndorf, Harold Pinter privat, NZZ (2010) Works Catalogue The Dwarfs [1960] 205.0008 Drama The Collection [1961] 205.0004 One to Another (with J.
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Homecoming Banquet Set For: November 26
SI L The Beacon Light 01Student Affairs Vol. VI. No.2 ATLANTA DIVISION, UNIVERSITY OF GEORGIA Wednesday, October 15, 1947 Homecoming Banquet Set For: November 26 dents took the Htnman.Nelson Ap. titude test, which was given by Dr. Bill Marr Named Frosh Greeted H. Reid Hunter and Dr. Bailey M. Wade of the Psychology Depart. In New Gym ment. Committee Hea Dr. George Sparks, Director or The date for the school's annual the Atlanta Division of the Uuiver. Homecoming Banquet has been bet sity of Georgia, told a group of for November 26 in the new gym- Day Division freshmen last week auditortum, it was announced this that funds to. build a new $400,000 week by Marcus Morris, President library and Iaboratotry building have been tentatively allocated. of the Evening Division. The ban- Dr. Sparks, speaking at a fresh- quet traditionally has been held on man orientation program Thursday, the night before Thanksgiving, and Sept. 25, said that plans also are is sponsored '-')"the student council being drawn for a swimmlng pool, as a student activity. which should be completed in the Bill Marl' was selected as chair- near future. man of the Homecoming Banquet One of the largest crowds in the co.mmittee, the positi n primarily school's history paraded under the responsible for coordination of the scaffolding of the practically com. efforts of all other banquet commit- pleted gym where they were greet, tees. The other committees have ed by Dean William M. Goldsmith, not yet been named, but were ex- who presided over the orientation ,pected to be formed at the first.
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View of Literature
Department of Environmental Studies DISSERTATION COMMITTEE PAGE The undersigned have examined the dissertation entitled: “Exploring Lifelong Influence of Participating in the Junior Audubon Club During Childhood,” presented by Amy Weidensaul, candidate for the degree of Doctor of Philosophy, and hereby certify that it is accepted* Committee Chair: Jimmy Karlan, Ph.D. Core Faculty, Antioch University New England Committee Member: Jean Kayira, Ph.D. Core Faculty, Antioch University New England Committee Member: Corrie Colvin Williams, Ph.D. Co-founder & Principal Consultant, Blue Lotus Consulting & Evaluation, LLC Defense Date: October 29, 2018 Date Approved by all committee members: December 10, 2018 Date Submitted to the Registrar’s Office: December 12, 2018 *Signatures are on file with the Registrar’s Office, Antioch University New England. Exploring Lifelong Influence of Participating in the Junior Audubon Club During Childhood by Amy Weidensaul A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Environmental Studies at Antioch University New England 2018 © 2018 by Amy Weidensaul All rights reserved Acknowledgements This dissertation is the result of a five-and-a-half year journey filled with challenges, successes and celebrations. It would not have been possible without the community of support that has been by my side throughout this entire journey, and to whom I am forever indebted. To my committee members, Jimmy Karlan, Jean Kayira, and Corrie Colvin Williams, thank you for sharing your expertise and knowledge, providing endless guidance and advice, and for challenging me to make my research better and strengthen myself as a practitioner. I especially want to thank Jimmy for being my advisor and committee chair.
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