Harold Pinter: Plays 3: the Homecoming; Old Times; No Mans Land Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Harold Pinter: Plays 3: the Homecoming; Old Times; No Mans Land Pdf FREE HAROLD PINTER: PLAYS 3: THE HOMECOMING; OLD TIMES; NO MANS LAND PDF Harold Pinter | 400 pages | 02 Dec 1997 | FABER & FABER | 9780571193837 | English | London, United Kingdom Old Times - Wikipedia Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Plays 3 by Harold Pinter. Get A Copy. Published first published May 4th More Details Other Editions 4. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Plays 3please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. These plays messed with my head. The four stars are principally for 'The Homecoming', one of my favourite plays and one which I'm writing about for coursework in conjunction with 'King Lear'. The other plays in this collection are some of his more obscure and ambiguous works. Not to say that they're not just as infused with Pinter's black humour and twisted tone. Apr 22, John Wilcock rated it really liked it Shelves: play. Worth it for No Man's Land alone. I think The Birthday Party Harold Pinter: Plays 3: The Homecoming; Old Times; No Mans Land tips it as Pinter's best play but this is a close second and in performance normally I prefer this one. I'd probably suggest that starting with volume 1 would be better but this selection is by no means for completists only. Ian Mackean rated it really liked it May 09, Gareth rated it it was amazing Oct 09, Cam Roberts rated it really liked it Jun 30, Matt rated it really liked it Feb 25, Sana Asif rated it really liked it Oct 15, Liz Mourant rated it it was amazing Aug 27, Yahya Ismail rated it really liked it Sep 20, Max Muto rated it it was amazing Apr 04, Bryan rated it liked it Jul 15, Keith rated it really liked it Aug 26, Sylvie Garcia rated it liked it Jan 01, Mark Reid rated it liked it Jun 03, Panos rated it really liked it Jun 20, Andy Nellis rated it liked it Jan 22, TheAuntie rated it liked it Dec 09, Andrew Wiggins rated it really liked it Jul 15, Edward rated it really liked it Dec 12, Nash rated it liked it Sep 15, Ryan Healey rated it liked it May 10, Mervat rated it it was amazing Jan 01, Gab Gab rated it liked it Dec 19, Andrew rated it it was amazing Sep 16, There are no discussion topics on this book yet. Readers also enjoyed. About Harold Pinter. Harold Pinter. He was one of the most influential playwrights of modern times. In he was awarded the Nobel Prize for Literature. After publishing poetry and acting in school plays as a teenager in London, Pinter began his professional theatrical career intouring throughout Ireland. Fromhe acted in repertory companies throughout England for about a dozen years, using the stage name David Baron in the late s. Beginning with his first play, The RoomPinter's writing career spanned over 50 years and produced 29 original stage plays, 27 screenplays, many dramatic sketches, radio and TV plays, poetry, one novel, short fiction, essays, speeches, and letters. His best-known plays include The Birthday PartyThe CaretakerThe Homecomingand Betrayaleach of which he adapted to film. He directed almost 50 stage, television, and film productions and acted extensively in radio, stage, television, and film productions of his own and others' works. Despite frail health after being diagnosed with oesophageal cancer in DecemberPinter continued to act on stage and screen, last performing the title role in a critically-acclaimed stage production of Samuel Beckett's one-act monologue Krapp's Last Tapefor the 50th anniversary season of the Royal Court Theatre, in October Pinter's dramas often involve strong conflicts among ambivalent characters who struggle for verbal and territorial dominance and for their own versions of the past. Stylistically, these works are marked by theatrical pauses and silences, comedic timing, irony and menace. Thematically ambiguous, they raise complex issues of individual identity oppressed by social forces, language, and vicissitudes of memory. InPinter stated that he was not inclined to write plays explicitly about political subjects; yet in the mids he began writing overtly political plays, reflecting his own heightening political interests and changes in his personal life. This "new direction" in his work and his left-wing political activism stimulated additional critical debate about Pinter's politics. Pinter, his work, and his politics have been the subject of voluminous critical commentary. Pinter received numerous awards. Festivals and symposia have been devoted to him and his work. In awarding the Nobel Prize, the Swedish Academy noted, "That he occupies a position as a modern classic is illustrated by his name entering the language as an adjective used to describe a particular atmosphere and environment in drama: 'Pinteresque'". He died from liver cancer on 24 December Harold Pinter: Plays 3: The Homecoming; Old Times; No Mans Land Books by Harold Pinter. Escape the Present with These 24 Harold Pinter: Plays 3: The Homecoming; Old Times; No Mans Land Romances. You know the saying: There's no time like the present In that Harold Pinter: Plays 3: The Homecoming; Old Times; No Mans Land, we can't Read more Trivia About Plays 3: The Home No trivia or quizzes yet. Welcome back. Just a moment while we sign you in to your Goodreads account. Harold Pinter Plays 3: The Homecoming; Old Times; No Man's Land - Works of Harold Pinter provides a list of Harold Pinter 's stage and television plays; awards and nominations for plays; radio plays; screenplays for films; awards and nominations for screenwriting; dramatic sketches; prose fiction; collected poetry; and awards for poetry. It augments a section of the main article on this author. From Wikipedia, the free encyclopedia. Redirected from Works of Harold Pinter. Wikipedia list article. Main article: Harold Pinter. Literature portal. Online posting. New York Times 31 July Recent productions and publications do refer to it more generically, as a "play", following the website's "Plays" section. RealPlayer audio no longer accessible. Repeated more Harold Pinter: Plays 3: The Homecoming; Old Times; No Mans Land, on 30 Dec. Updated 23 Apr. Academy Awards Databaseaccessed 28 June Further information: Harold Pinter bibliography. Baker, William, and John C. Ross, comps. Harold Pinter: A Bibliographical History. Archived from the original PDF on 28 February Oak Knoll Press, Page 37 of 40 pages. By The Swedish Academy. The Nobel Prize in Literature English HTML version. Harold Pinter, —[]. Merritt, Susan Hollis, Harold Pinter: Plays 3: The Homecoming; Old Times; No Mans Land. Susan Hollis Merritt, Tampa: U of Tampa P, —. Francis Gillen and Steven H. Tampa: U of Tampa P, Francis Gillen with Steven H. The Pinter Review. Harold Pinter. Laureates of the Nobel Prize in Literature. Eliot William Faulkner Bertrand Russell. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikiquote has quotations related to: Harold Pinter. Harold Pinter Plays 3: includes The Homecoming, Old Times, and No Man’s Land by Harold Pinter Born : October 10th, London, England. Died : December 24th, You leave the theater a bit disturbed, a bit excited, and more than a bit unbalanced. The plays are fueled by intense dialogue that seems disconnected from any sort of exposition. The audience rarely knows the background of the characters. The plays do offer a consistent theme: domination. Though his earlier plays were exercises in absurdity, his later dramas became overtly political. During the last decade of his life, he focused less on writing and more on political activism of the left-wing variety. Inhe won the Nobel Prize for Literature. During his Nobel lecture he stated:. Politics aside, his plays capture a nightmarish electricity that jolts the theater. A distraught and disheveled Stanley Webber may or may not be a piano player. It may or may not be his birthday. He may or may not know the two diabolically bureaucratic visitors that have come to intimidate him. There are many uncertainties throughout this surreal drama. However, one thing is definite: Stanley is an example of a powerless character struggling against powerful entities. And you can Harold Pinter: Plays 3: The Homecoming; Old Times; No Mans Land guess who is Harold Pinter: Plays 3: The Homecoming; Old Times; No Mans Land to win. It has been said that this one-act play was the inspiration for the film In Bruges. After viewing both the Colin Farrell movie and the Pinter play, it is Harold Pinter: Plays 3: The Homecoming; Old Times; No Mans Land to see the connections. As they wait to receive orders for their next deadly assignment, something rather odd happens. The dumbwaiter at the back of the room continually lowers down food orders. The more the food orders persist, the more the assassins turn on each other. Unlike his earlier plays, The Caretaker was a financial victory, the first of many commercial successes. The full-length play takes place entirely in a shabby, one-room apartment owned by two brothers. One of the brothers is mentally disabled apparently from electro-shock therapy. A powerplay begins between the homeless man and the brothers. Each character talks vaguely about things they want to accomplish in their life — but not one of the characters lives up to his word.
Recommended publications
  • 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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • From Pleasure to Menace: Noel Coward, Harold Pinter, and Critical Narratives
    Fall 2009 41 From Pleasure to Menace: Noel Coward, Harold Pinter, and Critical Narratives Jackson F. Ayres For many, if not most, scholars of twentieth century British drama, the playwrights Noel Coward and Harold Pinter belong in entirely separate categories: Coward, a traditional, “drawing room dramatist,” and Pinter, an angry revolutionary redefining British theatre. In short, Coward is often used to describe what Pinter is not. Yet, this strict differentiation is curious when one considers how the two playwrights viewed each other’s work. Coward frequently praised Pinter, going so far as to christen him as his successor in the use of language on the British stage. Likewise, Pinter has publicly stated his admiration of Coward, even directing a 1976 production of Coward’s Blithe Spirit (1941). Still, regardless of their mutual respect, the placement of Coward and Pinter within a shared theatrical lineage is, at the very least, uncommon in the current critical status quo. Resistance may reside in their lack of overt similarities, but likely also in the seemingly impenetrable dividing line created by the premiere of John Osborne’s Look Back in Anger on May 8, 1956. In his book, 1956 and All That (1999), Dan Rebellato convincingly argues that Osborne’s play created such a critical sensation that eventually “1956 becomes year zero, and time seems to flow both forward and backward from it,” giving the impression that “modern British theatre divides into two eras.”1 Coward contributed to this partially generational divide by frequently railing against so-called New Movement authors, particularly Samuel Beckett and Eugene Ionesco, for being self-important and tedious.
    [Show full text]
  • The Battle for Power Between the Dominant and the Subservient in the Dumb Waiter by Harold Pinter
    Int. J. Eng.INTERNATIONAL Lang. Lit & Trans. Studies JOURNAL (ISSN:2349 OF ENGLISH-9451/2395 LANGUAGE,-2628) Vol.3.Issue. LITERATURE4.2016 (Oct.-Dec.) AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in KY PUBLICATIONS RESEARCH ARTICLE Vol. 3. Issue.4.,2016 (Oct.-Dec. ) THE BATTLE FOR POWER BETWEEN THE DOMINANT AND THE SUBSERVIENT IN THE DUMB WAITER BY HAROLD PINTER Dr. ZEBA SIDDIQUI Assistant Professor, Amity School of Languages Amity University ABSTRACT Harold Pinter, the Nobel Prize Laureate is famous for his portrayal of the helplessness of the modern man, fighting a losing battle with a cruel and incomprehensible life, feeling the inevitability of decay and dejection. His plays brilliantly portray the modern human condition in which the meaning is no longer clear and is lost in the haze of scientific ambiguities and lost certainties. This paper Dr. ZEBA makes an attempt to present the view that higher power destroys the individual’s SIDDIQUI identity. Keywords: Harold Pinter, political drama, one-act play, Pinteresque . ©KY PUBLICATIONS The Dumb Waiter was written in 1957 and was highly received by the critics. In the 21st century with religion losing more ground than ever before and familiar narratives of certainties lost, with science and its ‘doubt culture’ making serious inroads in the modern mind and techno-brimming life, the work of Pinter is even more important than before. The Dumb Waiter is a representative of this condition of modern man and in many senses is even more important than ‘Waiting for the Godot’ by Samuel Beckett.
    [Show full text]
  • 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.
    [Show full text]
  • Other Places and the Caretaker: an Exploration of the Inner Reality in Harold Pinter‘S Plays
    ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 3, No. 4, pp. 581-588, April 2013 © 2013 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.3.4.581-588 Other Places and The Caretaker: An Exploration of the Inner Reality in Harold Pinter‘s Plays Hongwei Chen School of Foreign Studies, Beijing University of Science and Technology, Beijing, China Abstract—Exploring in his plays an overlapping area where social forces and human instincts interplay and superimpose upon each other, Harold Pinter dramatizes the inner reality of the characters who are trapped in various ambivalent forces, which collide and conflict, thereby producing the paradoxical tension in the subject’s instinct of escape and impulse to stay within. Index Terms—man in modern society, the realm of “the real”, other places, inner reality I. INTRODUCTION If we examine Harold Pinter‘s plays from The Room (1957) to Moonlight (1993), we may find that, however diversified the themes may appear (politics, family, or gender), two narrative models always can be found in them. In the first model, an individual escapes from various forms of ―rooms‖ (either a mysterious club, or family, or the Establishment) and is hounded, seized, interrogated and tortured for his attempt to be a non-conformist. Such characters as Stanley in The Birthday Party (1958), the son in Family Voices (1982), Victor in One for the Road (1984), as well as Fred and Jake in Moonlight, all belong to this category. In the second type of structure, characters are presented within various rooms, to which the characters cling as their territories.
    [Show full text]
  • Lebanese American University Political Tension and Existentialist
    Lebanese American University Political Tension and Existentialist Angst in the Drama of Harold Pinter and ‛Isām Mahfūz By Joelle Roumani Thesis submitted in partial fulfillment of the requirements for the Degree of Master of Arts in Comparative Literature School of Arts and Sciences May 2012 ii iii iv v vi Political Tension and Existentialist Angst in the Drama of Harold Pinter and ‛Isām Mahfūz Joelle Roumani Abstract This research presents a detailed comparative analysis between Harold Pinter’s The Dumb Waiter and ‘Isām Mahfūz’s The Dictator. It transcends linguistic, cultural and historical boundaries to explore the cross-resonance between these two plays and the sharp dramatic, political, and existential affiliations between their two playwrights. In a significant manner, both plays distinctively reveal Pinter and Mahfūz’s conscientious political stand against manipulation and totalitarianism. They represent the defeated and crushed victims of modern democratic systems as they expose the underlying hypocrisy and dinginess of their practices. Through theories of existentialism, especially Jean Paul Sartre’s main philosophical precepts of human freedom as a condemnation rather than a blessing and of man’s free choice as burdening, and Albert Camus’s notion of the absurdity of life and existence, this thesis argues that Both Sa‛dūn and Gus are afflicted with angst being the quintessential representatives of existential heroes who are heavily caught in the absurdity of existence and who tremendously suffer from the consequences of their free choices. Different theater productions and adaptations of the two plays are also fully examined to dwell on their enduring influence on and reception by viewers at different times and places as they deliver an undying comment on man’s inescapable sense of ennui and on the duplicity of modern politics.
    [Show full text]
  • Women Characters in Printer's Play's
    © 2020 JETIR February 2020, Volume 7, Issue 2 www.jetir.org (ISSN-2349-5162) Women Characters in Printer's Play's 1Gowsia Fayaz, 2Dr Chaitanya 1Research Scholar, 2Assistant Professor 1Department of English, 1Bhagwant University, Ajmer, Rajasthan, India. Abstract : This paper examines five female characters from the British dramatist Harold Pinter’s five works, putting them in the sense of depicting “ The Femine. ‘’Pinter female characters must be seen not only in the tradition of stereotypical portraying women, but also in the light of the patriarchal structures they face-male domination, male gaze and male bonding.The second chapter background to discuss female characters- reasons for doing so are provided and the idea of a woman is introduced as the other . This concept led to women being stereotyped and subsequently misrepresented in the fiction. The traditional wife/whore dichotomy is explored. The chapter also discuss the aspects of on –stage representation with reference of drama.The third chapter involves close reading of the plays by Pinter – the Homecoming, the Birthday party , Betrayal and old times. The position of female characters are discussed in relation to the structure of power which they attempt to abolish. The chapter argues that although they achieve it, success as such does not challenge the patriarchal system.The fourth chapter focuses on Pinter’s understanding of the Czech stage. This describes the past of the staging’s, with a particular focus on two productions that took place long before the political change and were seen as threat to the official regime. It also analyzes two contemporary Betrayal stages in Divadlov celetne focusing on the female roles in these productions.
    [Show full text]
  • Pinter's Comedy of Menace
    PINTER'S COMEDY OF MENACE DISSERTATION SUBMITTED FOR THE DEGREE OF IN ENGLISH BY MANJULA PIPLANI Under the Supervision ot PROF. ZAHIDA ZAIDI DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) June 1988 DS1360 DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY AND ALIGARH-202001 MODERN EUROPEAN LANGL \GES June 4, 1988 Certified that Ms, Manjula Piplaal has cc»Rpleted her dissertation under m^ supervislcm. To t}» best of my lcno%d:edge this is her own work, a^ it is suitable for subnlssion in suppllc^ttion of M.Phil degree* N ^Vv^ u Prc^essor Zahlda Zaidl (Supervisor) ACKHOHLEDGMENT X feel privileged in expressing ny deep gratitude to my supervisor Prof. ZaMda Zaidl, Department of English, Allgarh Nuilim Ukiiversity* Aligarh for her invaftuable guidance and constant encouragementmin the completion of ray work • With her extensive Icnowledge and deep involvmnent in modem drama she helped me to overcome ny own shortcomings, and complete this project within a short time* Without her constant care and guidance my dissertation wouitd not have taken its present shape. Z am also deeply grateful to Dr. Munir Ahnad, Chairmflm, Department of English and Librarian,Maulana Azad Library, A.M.U., Aligarh for the departmental and library facilities that Z have injoyed for the compilation of my work. MARJULA PZPLANI CONTENTS CHAPTER - I Introduction j Dark Comedy and comeay ot Menace ... 1-28 CHAPTER - II The Room and The Dumb Walter ... 29-41 CHAPTER > ni The Birthday party and The Caretaker 42 - 57 The Homecoroinq and A Slight Ache ... 58-72 CCNCLUSICN ... ... 73-78 BIBLICX3RAPHY ... ... 79-85 ••»**• «*•*«* ffHAPT^Sgl INTRCDUCTICN t DARK CXDMEDY VWD COMEDY OF Mm ACE 1.
    [Show full text]
  • The Development of Harold Pinter's Political Drama
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the pennission of the Author. FROM MENACE TO TORTURE: THE DEVELOPMENT OF HAROLD PINTER'S POLITICAL DRAMA A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University Betty s. Livingston 1993 ii ABSTRACT There is a degree of continuity between Pinter's "comedies of menace" and his overtly political plays. The chief difference between the two types of plays is one of focus: in the "comedies of menace" Pinter emphasises social pressures exerted on the nonconforming indi victual, whereas in the overtly political plays he focusses explicitly on State oppression of the dissident. Pinter's passionate concern with politics has adversely affected his art, though there are signs of a return to form in his latest play, Party Time. iii ACKNOWLEDGEMENT I am extremely grateful to Professor Dick Corballis for his generous and invaluable guidance and assistance. CONTENTS Page Acknowledgement iii CHAPTER ONE: Introduction 1 CHAPTER TWO: Society versus the nonconforming 5 individual: the "comedies of menace" CHAPTER THREE: The State versus the dissident 48 individual: the overtly political plays CHAPTER FOUR: The effect of Pinter's political 82 commitment on his art NOTES 89 BIBLIOGRAPHY 97 CHAPTER ONE INTRODUCTION Pinter's seemingly abrupt switch to explicitly political drama in One for the Road took many of his critics by surprise.
    [Show full text]