DOCSLIB.ORG

The Late Harold Pinter, DOI 10.1057/978-1-137-50816-4 220 BIBLIOGRAPHY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Late Harold Pinter, DOI 10.1057/978-1-137-50816-4 220 BIBLIOGRAPHY BIBLIOGRAPHY PRIMARY SOURCES Pinter, Harold. 1966. Interview by Lawrence M. Bensky. ‘Harold Pinter, The Art of Theater No.3.’ Interview by Lawrence M. Bensky. The parisreview.org. Accessed September 5, 2015. http://www.theparisreview.org/interviews/ 4351/the-art-of-theater-no-3-harold-pinter. N.P. Pinter, Harold, Dir. 1981. The Night of the Day of the Imprisoned Writer. Performances by Eileen Atkins, Alan Bates, Claire Bloom, Michael Bryant, Simon Callow, Judi Dench, Jeremy Irons, Joanna Lumley, Anna Massey, Daniel Massey, Timothy West, Penelo\pe Wilton et al. Duke of York’s Theatre, Oct. 4. Pinter, Harold. 1985. ‘A Play and Its Politics: A Conversation between Harold Pinter and Nicholas Hern.’ In One for the Road. New York: Grove. 5–23. Pinter, Harold. 1988. ‘Radical Departures.’ Interview with Anna Ford. Listener 120 (October 27): 4–6. Pinter, Harold. 1991a. ‘Introduction: Writing for Myself.’ In Harold Pinter: Plays 2. 2nd ed. London: Faber and Faber. vii–xi. Pinter, Harold. 1991b. ‘The Caretaker.’ In Harold Pinter: Plays 2. 2nd ed. London: Faber and Faber. 1–76. Pinter, Harold. 1991c. ‘The Lover.’ In Harold Pinter: Plays 2. 2nd ed. London: Faber and Faber. 147–184. Pinter, Harold. 1996a. ‘Introduction: Writing for the Theatre.’ In Harold Pinter: Plays 1. 2nd ed. London: Faber and Faber. vii–xiv. Pinter, Harold. 1996b. ‘The Birthday Party’.InHarold Pinter: Plays 1. 2nd ed. London: Faber and Faber. 1–84. © The Author(s) 2017 219 B. Chiasson, The Late Harold Pinter, DOI 10.1057/978-1-137-50816-4 220 BIBLIOGRAPHY Pinter, Harold. 1996c. ‘The Dumb Waiter.’ In Harold Pinter: Plays 1. 2nd ed. London: Faber and Faber. 111–150. Pinter, Harold. 1996d. ‘The Hothouse.’ In Harold Pinter: Plays 1. 2nd ed. London: Faber and Faber. 185–328. Pinter, Harold. 1996e. ‘The Room.’ In Harold Pinter: Plays 1. 2nd ed. London: Faber and Faber. 85–110. Pinter, Harold. 1997a. ‘Landscape.’ In Harold Pinter: Plays 3. 3rd ed. London: Faber and Faber. 165–188. Pinter, Harold. 1997b. ‘No Man’s Land.’ In Harold Pinter: Plays 3. 3rd ed. London: Faber and Faber. 315–399. Pinter, Harold. 1997c. ‘Old Times.’ In Harold Pinter: Plays 3. 3rd ed. London: Faber and Faber. 243–314. Pinter, Harold. 1997d. ‘Silence.’ In Harold Pinter: Plays 3. 3rd ed. London: Faber and Faber. 189–210. Pinter, Harold. 1997e. ‘The Homecoming.’ In Harold Pinter: Plays 3. 3rd ed. London: Faber and Faber. 13–90. Pinter, Harold. 1998. Interview on The South Bank Show. Presented by Melvyn Bragg. ITV. Nov. 29. Running time: 60 minutes. Pinter, Harold. 2000a. ‘Accident.’ In Harold Pinter: Collected Screenplays 1. Introduction by Harold Pinter. London: Faber and Faber. 344–444. Pinter, Harold. 2000b. ‘The Go-Between.’ In Harold Pinter: Collected Screenplays 2. Introduction by Harold Pinter. London: Faber and Faber. 1–119. Pinter, Harold. 2000c. ‘The Proust Screenplay.’ In Harold Pinter: Collected Screenplays 2. Introduction by Harold Pinter. London: Faber and Faber. 123–310. Pinter, Harold 2000d. ‘The Servant.’ In Harold Pinter: Collected Screenplays 1. Introduced by Harold Pinter. London: Faber and Faber. 2–91. Pinter, Harold. 2001a. Interview by Matthew Tempest. ‘Pinter: “IWon’tBe Silenced”.’ Guardian.co.uk. August 3. Accessed February 3, 2008. http://www. guardian.co.uk/politics/2001/aug/03/comment.pressandpublishing.N.P. Pinter, Harold. 2001b. One for the Road. Gate Theatre, Dublin, July 16, 17, 20, 21. Directed by Robin Lefèvre. Performances by Harold Pinter, Lloyd Hutchinson, Indira Varma, and Rory Copus. Sets and Costumes by Liz Ashcroft. Lighting Design Mick Hughes. Pinter, Harold. 2002. ‘Press Conference.’ London: Faber and Faber. N.P. Pinter, Harold. 2005a. ‘A Kind of Alaska.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 149–190. Pinter, Harold. 2005b. ‘Ashes to Ashes.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 389–434. Pinter, Harold. 2005c. ‘Betrayal.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 1–118. Pinter, Harold. 2005d. ‘Celebration.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 435–508. BIBLIOGRAPHY 221 Pinter, Harold. 2005e. ‘Family Voices.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 129–148. Pinter, Harold. 2005f. ‘Monologue.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 119–128. Pinter, Harold. 2005g. ‘Moonlight.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 315–388. Pinter, Harold. 2005h. ‘Mountain Language.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 249–268. Pinter, Harold. 2005i. ‘One for the Road.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 221–248. Pinter, Harold. 2005j. ‘Party Time.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 279–314. Pinter, Harold. 2005k. ‘Precisely.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 213–220. Pinter, Harold. 2005l. ‘The New World Order.’ In Harold Pinter: Plays 4. 2nd expanded ed. London: Faber and Faber. 269–278. Pinter, Harold. 2006. ‘Body.’ The Guardian. 25 November. 23. Pinter, Harold. 2006. Nobel Lecture Draft. British Library, Modern Manuscripts Collection, Pinter Archive, Nobel Lecture Box Add 88880/11/1, yellow legal pad #1. 1–19 (unnumbered). Copyright The Nobel Foundation. Pinter, Harold. 2009a. ‘A Pinter Drama in Stoke Newington.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 233. Pinter, Harold. 2009b. ‘American Football (A Reflection Upon the Gulf War).’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. Pinter, Harold. 2009c. ‘An Open Letter to the Prime Minister.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 256–257. Pinter, Harold. 2009d. ‘Art, Truth and Politics: The Nobel Lecture.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 285–300. Pinter, Harold. 2009e. ‘Arthur Miller’s Socks.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 65–66. Pinter, Harold. 2009f. ‘Blowing Up the Media.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 221–225. Pinter, Harold. 2009g. ‘Caribbean Cold War.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 229–232. Pinter, Harold. 2009h. ‘Death.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 221–225. Pinter, Harold. 2009i. ‘Democracy.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 278. 222 BIBLIOGRAPHY Pinter, Harold. 2009j. ‘Eroding the Language of Freedom.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 208–209. Pinter, Harold. 2009k. ‘God Bless America.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 276. Pinter, Harold. 2009l. ‘Harold Pinter and Michael Billington in Conversation at the National Film Theatre, 26 October 1996.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 74–83. Pinter, Harold. 2009m. ‘Iraq Debate.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 265–266. Pinter, Harold. 2009n. ‘It Never Happened.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 234–237. Pinter, Harold. 2009o. ‘Meeting.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 274. Pinter, Harold. 2009p. ‘Oh, Superman.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 210–220. Pinter, Harold. 2009q. ‘On Being Awarded the German Shakespeare Prize in Hamburg.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 48–52. Pinter, Harold. 2009r. ‘Order.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 189. Pinter, Harold. 2009s. ‘Samuel Beckett.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 67–68. Pinter, Harold. 2009t. ‘The Bombs.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 277. Pinter, Harold. 2009u. ‘The Old Days.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 190–191. Pinter, Harold. 2009v. ‘The US and El Salvador.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 226–228. Pinter, Harold. 2009w. ‘The US Elephant Must Be Stopped.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 205. Pinter, Harold. 2009x. ‘University of Florence Speech.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 258–260. Pinter, Harold. 2009y. ‘University of Turin Speech.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 261–263. Pinter, Harold. 2009z. ‘Weather Forecast.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 279. Pinter, Harold. 2009za. ‘Wilfred Owen Award for Poetry: Acceptance Speech, 18 March 2005.’ In Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008. 3rd ed. London: Faber and Faber. 267–268. BIBLIOGRAPHY 223 Pinter, Harold. N.D. ‘The Night of the Day of the Imprisoned Writer’ (divider label). British Library, Pinter Archive, Modern Manuscripts Collection Political Correspondence Box Add MS88880/6/54. N.P. SECONDARY SOURCES Aaronovitch, David.
Load more

Recommended publications
  • On Dorfman's Death and the Maiden
    Essay On Dorfman's Death and the Maiden David Luban* Gerardo Escobar, the human rights lawyer, is late returning from his meeting with the President, and his wife Paulina is edgy as she keeps dinner warm in their isolated coastal home. Sudden thunder, sheets of rain, and the electricity goes out, cutting off the radio news in midsentence. The summer storm is violent, but Paulina has a different kind of violence on her mind. "The time is the present," Ariel Dorfman tells us in the stage directions to Death and the Maiden, "and the place, a country that is probably Chile but could be any country that has given itself a democratic government just after a long period of dictatorship."' * Frederick Haas Professor of Law and Philosophy, Georgetown University Law Center. This Essay was originally prepared for a panel on transitional justice entitled "Justice, Amnesty, and Truth-Telling: Options for Societies in Transition," American Philosophical Association, Eastern Division, convention (Atlanta, Dec. 1996). My thanks go to the participants in this sym- posium, to Arthur Evenchik and Temma Kaplan for comments on an earlier draft, to Ann Sheffield for help with Latin translations, to Gisela von Mlhlenbrock for conversations about transitional justice in Chile, and to the research librarians at the National Gallery of Art, Washington, D.C., for assistance in locating research materials. 1. ARIEL DORFMAN, DEATH AND THE MAIDEN (1991) ("Cast of Characters"). To avoid Yale Journal of Law & the Humanities, Vol. 10, Iss. 1 [1998], Art. 3 116 Yale Journal of Law & the Humanities [Vol. 10: 115 Paulina knows that even in countries that are no longer dictator- ships, fascists sometimes visit the isolated homes of human rights lawyers on stormy nights.
    [Show full text]
  • An Unexplained Death TPB an Unexplained Death the True Story of a Body at the Belvedere MIKITA BROTTMAN
    An Unexplained Death TPB An Unexplained Death The True Story of a Body at the Belvedere MIKITA BROTTMAN The unnerving true story of an unexplained death in Baltimore’s historic Belvedere building When the body of a missing man is discovered in the Belvedere, an apparent suicide, resident Mikita Brottman becomes obsessed with the mysterious circumstances of his death. The Belvedere used to be a hotel dating back to Baltimore’s Golden Age but is now converted into flats, and as Brottman investigates the perplexing case of the dead man, she soon becomes caught up in the strange and violent secrets of the Belvedere’s past. Her compulsions drive her to an investigation lasting over a decade. Utterly absorbing and unnerving, An Unexplained Death will lead you down the dark and winding corridors of the Belvedere and into the deadly impulses and obsessions of the human heart. RELEASE DATE: 8 NOVEMBER 2018 ABOUT THE AUTHOR Export/Airside - Export/Airside/Ireland Mikita Brottman is a writer and a professor in the Department of PAPERBACK Humanistic Studies at the Maryland Institute College of Art in downtown 9781786892652 Baltimore. She is also a certified psychoanalyst and runs a true crime £ podcast called Forensic Transmissions. She lives in the old Belvedere Hotel in Mount Vernon, Baltimore, with her partner, David, and French bulldog, Oliver. @MikitaBrottman | mikitabrottman.com An Unexplained Death TPB 02 SALES & DISTRIBUTION CONTACTS TRADE ORDERS & AUTHORIZED REPRESENTATIVES RETURNS UK Sales Manager The Book Service Ltd (TBS) Sam Brown Frating Green, Colchester, 07980 712110 Essex CO7 7DW [email protected] Phone +44 (0)1206 256 060 Key Account Manager www.thebookservice.co.uk Kim Lund Grantham Book Services (GBS) 07980 712111 Trent Road [email protected] Grantham Scotland and North East England Lincolnshire John McColgan NG31 7XQ Tel.
    [Show full text]
  • Caryl Phillips
    Caryl Phillips born 1958, St. Kitts, West Indies website: www.carylphillips.com Education B.A. (Honours) The Queens College, Oxford University (1979) Honorary Degrees • Hon. D. Univ: Leeds Metropolitan University (1997) • Hon. D. Univ: University of York (2003) • Hon. D. Lett: University of Leeds (2003) • Hon. D. Lett: University of the West Indies (2010) • Hon. D. Lett: University of Edinburgh (2012) • Docteur Honoris Causa: University of Liege, Belgium (2015) Publications Fiction • A VIEW OF THE EMPIRE AT SUNSET (2018) • Farrar, Straus, and Giroux. USA • Random House/Vintage. UK • THE LOST CHILD (2015) • Farrar, Straus, and Giroux. USA • Oneworld. UK • IN THE FALLING SNOW (2009) • Harvill Secker. UK • Knopf. USA • DANCING IN THE DARK (2005) • Secker and Warburg. UK • Knopf. USA • A DISTANT SHORE (2003) • Secker and Warburg. UK • Knopf. USA • THE NATURE OF BLOOD (1997) • Faber and Faber. UK • Knopf. USA • CROSSING THE RIVER (1993) • Bloomsbury. UK • Knopf. USA (1994) • CAMBRIDGE (1991) • Bloomsbury. UK • Knopf. USA (1992) • HIGHER GROUND (1989) • Viking. UK • Viking. USA • A STATE OF INDEPENDENCE (1986) • Faber and Faber. UK • Farrar, Straus and Giroux. USA • THE FINAL PASSAGE (1985) • Faber and Faber. UK • Penguin. USA Non fiction • COLOUR ME ENGLISH (2011) • Harvill Secker. UK • The New Press. USA • FOREIGNERS (2007) • Harvill Secker. UK • Knopf. USA • A NEW WORLD ORDER (2001) • Secker and Warburg. UK • Vintage. USA • THE ATLANTIC SOUND (2000) • Faber and Faber. UK • Knopf. USA • THE EUROPEAN TRIBE (1987) • Faber and Faber. UK • Farrar, Straus and Giroux. USA Anthologies • THE RIGHT SET: A TENNIS ANTHOLOGY (1999) [Editor] • Faber and Faber. UK • Vintage. USA • EXTRAVAGANT STRANGERS: A LITERATURE OF BELONGING (1997) [Editor] • Faber and Faber.
    [Show full text]
  • Student Auditions
    Student Auditions Theater Emory • Fall 2014 Productions 2014-2015 - Global Perspectives: A Festival from Pinter to Rivera • Audition appointments on Saturday, August 30 start at 10:00AM • Callbacks the next day on Sunday, August 31. Hear more about auditions and the Theater Emory season at the General Meeting for all interested in Theater at Emory in the Munroe Theater in the Dobbs University Center at 5:30PM on Thursday, Aug. 28. Hear presentations by the Theater Studies Department and by the student theater organizations. Pinter Revue – by Harold Pinter, Directed by Donald McManus Sketch comedy in the British tradition, Pinter Revue is a collection of short works spanning more than thirty years of Pinter's career, from Trouble in the Works (1959) to New World Order (1991). Mountain Language (1988), a play about state terrorism, is described by Pinter as a "series of short, sharp images" exploring "suppression of language and the loss of freedom of expression." First Rehearsal- Sept. 9 Performances- Oct. 2 – 11 (fall break is Oct. 13-14) Time commitment: 3 weeks of segmented rehearsals, short script, and a 2-week run. (One performance at Emory’s Oxford campus.) A Pinter Kaleidoscope – By Harold Pinter, Directed by Brent Glenn An immersive confrontation with the comedic menace of Harold Pinter. The audience encounters Pinter’s dystopian nirvana by moving through various locations within the theater space. From his first play, The Room, to the totalitarian nightmare One for the Road, this devised theater event also features portions of The Birthday Party, The Hothouse, The Caretaker, and other plays, poems and speeches.
    [Show full text]
  • J Ohn F. a Ndrews
    J OHN F . A NDREWS OBE JOHN F. ANDREWS is an editor, educator, and cultural leader with wide experience as a writer, lecturer, consultant, and event producer. From 1974 to 1984 he enjoyed a decade as Director of Academic Programs at the FOLGER SHAKESPEARE LIBRARY. In that capacity he redesigned and augmented the scope and appeal of SHAKESPEARE QUARTERLY, supervised the Library’s book-publishing operation, and orchestrated a period of dynamic growth in the FOLGER INSTITUTE, a center for advanced studies in the Renaissance whose outreach he extended and whose consortium grew under his guidance from five co-sponsoring universities to twenty-two, with Duke, Georgetown, Johns Hopkins, North Carolina, North Carolina State, Penn, Penn State, Princeton, Rutgers, Virginia, and Yale among the additions. During his time at the Folger, Mr. Andrews also raised more than four million dollars in grant funds and helped organize and promote the library’s multifaceted eight- city touring exhibition, SHAKESPEARE: THE GLOBE AND THE WORLD, which opened in San Francisco in October 1979 and proceeded to popular engagements in Kansas City, Pittsburgh, Dallas, Atlanta, New York, Los Angeles, and Washington. Between 1979 and 1985 Mr. Andrews chaired America’s National Advisory Panel for THE SHAKESPEARE PLAYS, the BBC/TIME-LIFE TELEVISION canon. He then became one of the creative principals for THE SHAKESPEARE HOUR, a fifteen-week, five-play PBS recasting of the original series, with brief documentary segments in each installment to illuminate key themes; these one-hour programs aired in the spring of 1986 with Walter Matthau as host and Morgan Bank and NEH as primary sponsors.
    [Show full text]
  • Nine Night at the Trafalgar Studios
    7 September 2018 FULL CASTING ANNOUNCED FOR THE NATIONAL THEATRE’S PRODUCTION OF NINE NIGHT AT THE TRAFALGAR STUDIOS NINE NIGHT by Natasha Gordon Trafalgar Studios 1 December 2018 – 9 February 2019, Press night 6 December The National Theatre have today announced the full cast for Nine Night, Natasha Gordon’s critically acclaimed play which will transfer from the National Theatre to the Trafalgar Studios on 1 December 2018 (press night 6 December) in a co-production with Trafalgar Theatre Productions. Natasha Gordon will take the role of Lorraine in her debut play, for which she has recently been nominated for the Best Writer Award in The Stage newspaper’s ‘Debut Awards’. She is joined by Oliver Alvin-Wilson (Robert), Michelle Greenidge (Trudy), also nominated in the Stage Awards for Best West End Debut, Hattie Ladbury (Sophie), Rebekah Murrell (Anita) and Cecilia Noble (Aunt Maggie) who return to their celebrated NT roles, and Karl Collins (Uncle Vince) who completes the West End cast. Directed by Roy Alexander Weise (The Mountaintop), Nine Night is a touching and exuberantly funny exploration of the rituals of family. Gloria is gravely sick. When her time comes, the celebration begins; the traditional Jamaican Nine Night Wake. But for Gloria’s children and grandchildren, marking her death with a party that lasts over a week is a test. Nine rum-fuelled nights of music, food, storytelling and laughter – and an endless parade of mourners. The production is designed by Rajha Shakiry, with lighting design by Paule Constable, sound design by George Dennis, movement direction by Shelley Maxwell, company voice work and dialect coaching by Hazel Holder, and the Resident Director is Jade Lewis.
    [Show full text]
  • Death and the Maiden, Describes the Encounter of a Former Torture Victim with the Man She Believed Tortured Her; It Was Made Into a Film in 1994
    Ariel Dorfman: Death and the Ariel Dorfman was born in Buenos Aires on May 6, 1942, and shortly after his birth moved to the United States Maiden and then, in 1954, to Chile. He attended and later worked as a professor at the University of Chile, marrying Angelica Malinarich in 1966 and becoming a Chilean citizen in 1967. From 1968 to 1969, he attended graduate school at the University of California, Berkeley and then returned to Chile. In an interview in Bomb Magazine, Dorfman said, "I'm constantly trying to figure out how you can be true to an experience which in fact very few people in the world would understand, such as having most of your friends disappear or be tortured, and at the same time finding a way of telling that story so other people in other places can read their own lives into that." His most famous play, Death and the Maiden, describes the encounter of a former torture victim with the man she believed tortured her; it was made into a film in 1994. Dorfman's works have been translated into more than 40 languages and performed in over 100 countries. He has won various international awards, including two Kennedy Center Theatre Awards. Dorfman also writes regularly for such publications as The New York Times, The Washington Post, the Los Angeles Times, The Guardian (where he has a featured blog), Le Monde and L'Unita. [adapted from Wikipedia] Some Background: Edvard Munch, Death and the Maiden Ariel Dorfman's Death and the Maiden is a moral thriller about a by Ariel Dorfman woman, Paulina, who believes that a stranger who comes to her home is the doctor who, under a military dictatorship, tortured and raped her many years before.
    [Show full text]
  • Sexual Identity in Harold Pinter's Betrayal
    Table of Contents Introduction: …………………………………………………………………………………..1 The Question of Identity in Harold Pinter’s Drama Chapter One:………………………………………………………………………………….26 Strong Arm Her: Gendered Identity in Harold Pinter’s A Kind of Alaska (1982) Chapter Two:…………………………………………………………………………………79 The Indelible Memory: Memorial Identity in Harold Pinter’s Ashes to Ashes (1996) Chapter Three:……………………………………………………………………………..129 Eroded Rhetoric: Linguistic Identity in Harold Pinter’s One for the Road (1984) and Mountain Language (1988) Chapter Four: ……………………………………………………………………………….188 Chic Dictatorship: Power and Political Identity in Harold Pinter’s Party Time (1991) Chapter Five:…………………………………………………………………………………240 The Ethic and Aesthetic of Existence: Sexual Identity in Harold Pinter’s Betrayal (1978) Chapter Six:…………………………………………………………………………………..294 Crumbling Families: Familial and Marital Identity in Harold Pinter’s Celebration (2000) Conclusion:……………………………………………………………………………………350 Bibliography:…………………………………………………………………………………359 I II Acknowledgment I would like to express my special thanks and appreciation to my principal supervisor Dr. Christian M. Billing, who has shown the attitude and the substance of a genius. He continually and persuasively conveyed a spirit of adventure in questioning everything and leaving no stone unturned. You have been a tremendous mentor for me. I would like to thank you for your incessant encouragement, support, invaluable advice, and patience without which the completion of this work would have been impossible. Thank you for allowing me to grow as a researcher. Your advice on both research as well as my career have been priceless. I would also like to thank Dr. K.S. Morgan McKean without which this work would not have been completed on time. A special thanks to my family. Words cannot express how grateful I’m to my sweet and loving parents Mandy Khaleel & Hasan Ali who did not spare the least effort to support me throughout my study.
    [Show full text]
  • An Introduction to BETRAYAL
    An Introduction to BETRAYAL There are times in the life of any individual or organization when they are challenged by events entirely beyond their control. One such event happened in the life of our Goodwill that challenged us to our very core. That event was the fraud committed by Carol Braun. We take pride in our corporate values and our integrity. We were exposed and vulnerable. The real mark of an organization's strength is its capacity to weather the most difficult storms. I believe that "Betrayal" is a testament to the strength and integrity of our Goodwill. It is a living testament to our capacity to learn from our hardships and mistakes. The book has found its way to every corner of America and has served to comfort and inform others who have faced similar circumstances. This book is dedicated to the men and women of Goodwill, our "People". We are stronger, more resilient and more compassionate as a result of this experience. We hope that Betrayal will, in some small way, ease any personal or professional challenges the reader may face and we stand ready to help. Bob Pedersen Chief Visionary & Storyteller Goodwill NCW BETRAYAL by Jed Block and the people of Goodwill Industries of North Central Wisconsin, Inc. © 2004 by Goodwill Industries of North Central Wisconsin, Inc., Menasha, Wisconsin 1 TABLE OF CONTENTS Foreword……………………………………………………………..Page 1 Chapters 1-30………………………………………………...……………..5 Epilogue…………………………………………………………………….74 Postscript……………………………………………………………………78 Appendix Mission, Vision, Values…………………………………………….81 Who’s Who
    [Show full text]
  • Death and the Maiden Table of Contents
    Death and the Maiden By Ariel Dorfman Copyright Notice Some or all of these eNotes are an offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works. ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. ©2004 eNotes.com LLC ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. For complete copyright information on these eNotes please visit: http://www.enotes.com/death−maiden/credits Table of Contents 1. Introduction 2. Author Biography 3. Summary 4. Characters 5. Themes 6. Style 7. Historical Context 8. Critical Overview 9. Essays and Criticism 10. Compare and Contrast 11. Topics for Further Study 12. Media Adaptations 13. What Do I Read Next? Table of Contents 1 14. Bibliography and Further Reading Introduction Ariel Dorfman's Death and the Maiden is a moral thriller about a woman, Paulina, who believes that a stranger who comes to her home is the doctor who, under a military dictatorship, tortured and raped her many years before. (The play's title is taken from a piece of music by Franz Schubert; Paulina loved the piece but grew to revile it when it was played repeatedly during her torture sessions.) Dorfman began writing the play in the mid−1980s, when he was in exile from Chile, a country under the rule of the military dictator General Augusto Pinochet.
    [Show full text]
  • June 2016 President: Vice President: Simon Russell Beale CBE Nickolas Grace
    No. 495 - June 2016 President: Vice President: Simon Russell Beale CBE Nickolas Grace Nothing like a Dame (make that two!) The VW’s Shakespeare party this year marked Shakespeare’s 452nd birthday as well as the 400th anniversary of his death. The party was a great success and while London, Stratford and many major cultural institutions went, in my view, a bit over-bard (sorry!), the VW’s party was graced by the presence of two Dames - Joan Plowright and Eileen Atkins, two star Shakespeare performers very much associated with the Old Vic. The party was held in the Old Vic rehearsal room where so many greats – from Ninette de Valois to Laurence Olivier – would have rehearsed. Our wonderful Vice-President, Nickolas Grace, introduced our star guests by talking about their associations with the Old Vic; he pointed out that we had two of the best St Joans ever in the room where they would have rehearsed: Eileen Atkins played St Joan for the Prospect Company at the Old Vic in 1977-8; Joan Plowright played the role for the National Theatre at the Old Vic in 1963. Nickolas also read out a letter from Ronald Pickup who had been invited to the party but was away in France. Ronald Pickup said that he often thought about how lucky he was to have six years at the National Theatre, then at Old Vic, at the beginning of his career (1966-72) and it had a huge impact on him. Dame Joan Plowright Dame Joan Plowright then regaled us with some of her memories of the Old Vic, starting with the story of how when she joined the Old Vic school in 1949 part of her ‘training’ was moving chairs in and out of the very room we were in.
    [Show full text]
  • Playwright DAVID HARE Receives the Guild's 2017 GIELGUD AWARD
    But the culminating moments of a richly varied program Playwright DAVID HARE Receives were devoted to the GIELGUD AWARD FOR EXCELLENCE IN THE DRAMATIC ARTS and to the afternoon’s final presentation, for The Guild’s 2017 GIELGUD AWARD OUTSTANDING CONTRIBUTION TO BRITISH THEATRE.. That trophy went to LYN GARDNER, “a renowned theatre journalist, critic, n Sunday, October 15, at a memorable UK THEATRE author, and champion of the industry, whose invaluable O AWARDS luncheon in London’s historic GUILDHALL, one insights can most often be found in The Guardian and The of today’s most versatile dramatic artists received the 2017 Stage, of which she is an associate editor.” GIELGUD AWARD FOR EXCELLENCE IN THE DRAMATIC ARTS. Not only has DAVID HARE enriched our theatrical repertory resenting this year’s GIELGUD AWARD was FREDDIE FOX, with some of the most resonant and challenging stageplays of P an actor of impeccable pedigree who is admired for our era. He has also produced screenplays that have garnered films such as The Three Musketeers, Victor Frankenstein, The Riot Club, Pride, and Worried About the Boy, as well as for such stage roles as Bosie in The Judas Kiss, a David Hare drama about the tragic fall of Oscar Wilde. Mr. Fox talked about how much he’d enjoyed working not only with Sir David but with artistic director Jonathan Kent while co-starring in this Hampstead Theatre production. As he bestowed the 2017 GIELGUD trophy, he shared two messages from admirers of Sir David who were unable to attend the Guildhall luncheon.
    [Show full text]