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A Psychoanalytical Approach to Harold Pinter's Plays: Old Times

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A Psychoanalytical Approach to Harold Pinter's Plays: Old Times A Psychoanalytical Approach to Harold Pinter’s Plays: Old Times, The Homecoming and The Birthday Party. Dalia Abu-Arja Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy in English Language and Literature School of Arts & Media, University of Salford, UK 2017 1.0.Table of Contents 1.0 Table of Contents................................................................................... i 2.0 Declaration of Originality...................................................................... ii 3.0 Acknowledgement …………………………………………………… 1 4.0 Abstract.................................................................................................. 1 5.0 Introduction ………………………………………………………….. 2 6.0 Literature Review ……………………………………………………. 24 6.1 Research Objectives ………………………………………….. 36 6.2 Research Questions …………………………………………... 37 7.0 Methodology and Definition of Terms …………..…………………... 37 7.1 Methodology............................................................................. 37 7.2 Definition of Terms ………………………………………….. 39 7.2.a Pinter and the Angry Young Men ……………………… 40 7.2.b The Oedipus Complex ..................................................... 48 7.2.c The Castration Complex ……………………………….. 56 7.2.d The ‘Uncanny’ …………………………………………. 64 7.2.e Aggression ……………………………………………... 69 7.2.f Dream Analysis…………………………………………. 79 8.0 Psychoanalysis of the Theatre ………………………………………. 94 8.1 Sexual Cultural Theatre ……………………………………... 97 8.2 A Psychoanalytical Reading of the Theatre ………………… 102 8.3 Subconscious Writing ……………………………………….. 107 8.4 My Approach to Psychoanalysis ……………………………. 110 9.0 Case Studies ………………………………………………………….. 110 9.1 Old Times (1971)…………………………………………….. 111 9.2 The Homecoming (1965) …………………………………….. 134 9.3 The Birthday Party (1957)...…………………………………. 186 10.0 Conclusion …………………………………………………………. 204 11.0 Bibliography ……………………………………………………….. 208 i 2.0. Declaration of Originality The candidate confirms that the work submitted is her own and that appropriate credit has been given where references have been made to the work of others. Dalia Abu-Arja ii 3.0. Acknowledgements This PhD thesis would have never been completed without the support and contribution of my supervisory team. My sincere gratitude goes to my supervisors, Dr. Richard Talbot and Dr. Carson Bergstrom. Their experience and clear guidance was priceless. I sincerely appreciate the accuracy they have put in reading my drafts and providing me with extensive in-depth feedback. The quest of writing my PhD thesis has often been a frustrating journey. However, there are a few special people who have provided great support and love throughout those tough years. I would like to extend gratitude to my parents for their encouragement and unconditional love; to my brother for always extending a helping hand; to my fiancé for his love and patience, and to my beautiful friends back in Jordan who always support and encourage me to be a better version of myself. 4.0. Abstract This PhD thesis presents an analysis of a number of Harold Pinter’s plays, by using a Freudian psychoanalytical approach aligned with a close reading of the following works: Old Times (1971), The Homecoming (1965) and The Birthday Party (1957). Furthermore, the thesis aims at conducting a thorough analysis of the selected plays, by using key Freudian concepts such as the Oedipus complex, the castration complex, the ‘uncanny,’ aggression and dream analysis, and by providing an alternative understanding Pinter’s plays from a psychoanalytical point of view. The method used herein involves critical analysis, starting with a close reading of the abovementioned works and Freudian material consisting of the Freudian psychoanalytical terms mentioned earlier. The thesis proposes that, the psychoanalytical terms applied here support a substantial analysis of the plays. This is particularly the case, I argue, because Pinter, through his creative writing process, produces complex plays that touch on controversial subjects including sexual aggression and unconventional dysfunctional familial dynamics. The other method I used is conducting a psychoanalytic reading of the theatre event, including a review of the reception of the plays and aspects of design, thus connecting theatre and theatricality, sexual dynamics, Pinter’s process and Freudian theory. 1 The study is supported by a reading of extant literature addressing Freud, Pinter and literature which links them with each other and with the theatre in general. The other resources and data I have drawn on include witnessing live performances of the selected plays, watching recorded film adaptations and archive including interviews with the actors, with directors, Pinter’s own commentary and that of his wife Lady Antonia Fraser. 5.0. Introduction Reading Pinter’s plays have created an impact on my personal life and particularly on my thinking process as a woman who comes from a Muslim, Middle Eastern and Arab background. I grew up in a conservative Muslim community in Amman, Jordan where there is no profound interest in literature in general and theatre specifically. Despite my upbringing, I tried to defy the cultural norms by majoring in English Literature at university – for both my Bachelor and Master’s degrees. Although my major, studying for both degrees, was named ‘English Language and Literature’, only one third of the courses taught at university were actually literature related, and they were formatted as ‘Introduction’ courses to the various literary genres. The two remaining thirds I had to study at university, regardless of my major being Literature, were either ‘Linguistics’ or ‘English-Arabic-English’ translation courses. I majored in English Literature because I was genuinely interested in learning about literary genres and getting involved in the somehow ‘exclusive’ Jordanian literary scene. However, I struggled a lot during university years because I was not satisfied with the teaching methods nor with the purposeless compulsory materials, and I was not given enough support to pursue a comprehensive understanding of the English Literature I had always been interested in. I, subsequently, decided to be in charge of my own future and started searching for literary reading material which would spark my interest and satisfy my curiosity about the different aspects of the other part of the world – the world undefined by cultural traditions and religious guidelines, or the world to which I do not belong. After studying the ‘Introduction to Literature’ courses at university, I found that I was mostly interested in Drama studies, although I was only taught two Drama related course: ‘Introduction to Drama’ and ‘Shakespeare and His Age’. My interest in Drama studies started after realising that there was a certain type of Drama drawing my attention constantly. I later learnt this type is called the ‘Kitchen Sink Drama’. According to the Dictionary of Modern and Contemporary Art, the term ‘Kitchen Sink’ is ‘derived from an expressionist painting by 2 John Bratby [who] did various kitchen and bathroom-themed paintings, including three paintings of toilets’. The Dictionary also adds that Bratby also painted people who ‘often depicted the faces of his subjects as desperate and unsightly’ (2009, p. 259). I expressed interest in this particular type of Drama because it appeared to me that it expresses the societal problems through theatrical performance and that it creates a bond between the playwrights, the plays, the characters, and the audience. I started searching for examples demonstrating the Kitchen Sink Drama, so I was recommended by one of my dearest Literature professors in Jordan to read some of Pinter’s plays, and then she lent me my first group of Pinter plays to read. It was Pinter Plays 2 which included The Caretaker, The Dwarfs, The Collection, The Lover, Night School, Trouble in the Works, The black and White, Request Stop, Last To Go, and Special Offer. The Lover was the first play to have caught my interest because I thought it was too provocative for my taste, and I was curious about how this play might be performed before an audience in the 1960’s. I found The Lover provocative because it tackles role playing in marital affairs which creates sexual tension. And as I mentioned previously, I come from a conservative Muslim culture and I was shocked by the amount of sexual innuendos Pinter had congested in the play. I, however, kept reading the collection of plays I was kindly lent, and realised that this is Pinter’s writing style – using the elements of shock and sexually charged conversations between the characters. After reading the first book, my growing curiosity directed me to learn more about Pinter’s writing style and what triggered such a creative being to write these plays. Consequently, I started searching the Jordanian libraries for more of Pinter’s plays and I eventually found Plays 1 which included The Birthday Party, The Room, The Dumb Waiter, A Slight Ache, The Hothouse, A Night Out, The Black and White, The Examination. I got more interested in the plays as I read more of Pinter’s work. I found his plays to be captivating, thought-provoking, yet offensive. The fact that the plays were captivating and thought-provoking in my perspective made me more inquisitive about what lies beneath the surface of such plays and playwright. Moreover, the fact that I found the plays to be offensive caused me to search for more information about the plays, how the original reviewers received them, and how a
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