City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique. Chapter One explains the dissertation’s theoretical framework (landscape theory, Symbolist theory, ecocriticism, phenomenology, and sensory analysis), while arguing for an ecophilosophical reading of Pinter’s landscapes that engages not only with spatial patterns but also with the bodyscapes and psychic ecology of his characters. Chapter Two examines the theoretical/aesthetic Symbolist qualities of Pinter’s dramaturgy. Chapter Three connects Pinter’s sensory scapes to the theories of space and time developed by Henri Bergson, revealing how they are concerned with subjective time as it is lived , with the spatiotemporal circularity of past, present, and future (related to the ouroboros symbol), and with the way one can imaginatively re/create one’s own self through life. Chapter Four discusses how Pinter’s apocalyptic landscapes evoke the horror of the Holocaust, and denounce the tradition of oppression (or the structures of uncontrolled violence) that repeatedly produces new social and ecological catastrophes. Chapter Five draws upon feminist philosopher Luce Irigaray’s concepts of sexual v difference to demonstrate the negative ecological effects of a monological patriarchal system of moral values upon family and conjugal life, as expressed in Pinter’s oppressive and abusive homescapes . Throughout this study I activate an interdisciplinary dialogue between Pinter’s landscapes and those found in works by Symbolist (and Decadent) artists/thinkers (Mallarmé, Rilke, Briusov, Maeterlinck, Rachilde, Patrício, Yeats, Munch, Sacher-Masoch, and Kafka.). Adopting phenomenological views of subjectivity (suggested by Maurice Merleau-Ponty, Gaston Bachelard, and Stanton Garner, among others), I invoke Gilles Deleuze and Félix Guattari’s notion of micropolitics, as well as the latter’s concept of a combined ecology—mental, social, and environmental—to discuss how a study of sensory scapes reveals the presence of ecophilosophical and political concerns all through Pinter’s dramatic oeuvre. vi Acknowledgements I wish to acknowledge the support of FCT (Fundação para a Ciência e Tecnologia, Portugal) whose Fellowship for the initial four years of the doctoral program made my research financially possible. My dissertation also benefited from the endowment of the Vera Mowry Roberts Dissertation Award, for which I am grateful. First I wish to thank my advisor Daniel Gerould for his expertise in Symbolism, for his captivating interdisciplinary seminars on drama, for the stimulating way he helped me concretize my research goals, and for his fascination with all things beautiful and eerie. His essays on apocalyptic drama and on landscapes of the unseen made such a mark on me that they eventually led me to engage in this study. I offer my profound gratitude to Jean Graham-Jones for having given me a mental and emotional enthusiasm for theatre theory that I will nourish always. Her interest concerning my essay on Pinter’s Party Time was very significant towards this thesis. My gratefulness to Mary Ann Caws is especially ineffable; I can only say that she is a beam of sun that unexpectedly shone in my academic existence. “All thought emits a Throw of the Dice,” as Mallarmé wrote. I would also like to thank Pamela Sheingorn who taught me the route towards high quality research. Among my knowledgeable professors at the Graduate Center, from the Theatre, Film, English, and Comparative Literature programs, I wish to particularly thank Felicia Bonaparte for her passionate lectures (from which I gained a philosophical-aesthetic desire of seeking), and for her encouragement in my quest. Among my colleagues, I want to thank Zeneida for her affectionate support throughout. I am most grateful to Lynette Gibson, not only vii for her help with paperwork, but also for her unwavering assistance in all matters during my course of studies. Thanks are also extended to Professor Nuno Nabais (UL-University of Lisbon) for having read this study and provided me with some response on its philosophical aspects. This dissertation received inspiration and support from several beings, animate, and inanimate. Primarily from Harold Pinter, whose work will always be inspiring for me. Also from other dead artists/writers who are living in my mind and (physically) present all over my desk/top and bookshelves. To Nita my deep gratitude, this would not have been possible without her support and care. She tends for many things visible and invisible, like a true matriarch. My thanks go to Carminho as well, for giving confidence to this enterprise. Maurício, my very close friend ever since the day I staged Pinter’s Party Time in Boston, instilled in me a desire to continue my academic education; he has never doubted for one day that I would accomplish this degree, and for that confidence in my work I will always be thankful (now he will have to read the whole thesis). I owe philosophical/emotional insights to my sister João, who disappeared so untimely, and whom I miss so much, although she is still present as a ghost. To the forest of my heart, Buçaco, to the creatures of the woods, to all the animals, plants, things that surround me and which I cherish, to a most lovable and intelligent companion whom I had the luck of meeting one day in my life path. To the joy I have had of growing up and living side by side with you, Luis. viii TABLE OF CONTENTS ABSTRACT ............................................................................................................................... iv-v ACKNOWLEDGEMENTS ................................................................................................... vi-vii INTRODUCTION ..........................................................................................................................1 CHAPTER ONE Landscape Theory in Theatre: Toward an Ecocentric and Synesthetic Reading .............................9 Part I - Landscape, Space, and Place in Current Criticism .....................................................10 Part II - Toward an Ecocentric and Synesthetic Reading of Landscape A) Ecocentric Phenomenological Experiences of Space/Landscape .................................29 B) Micropolitical Views of Aesthetic Landscapes ............................................................38 C) Symbolist Synesthetic Explorations of Space/Landscape ............................................49 CHAPTER TWO Pinter’s Dramatic Landscapes: A Symbolist Legacy.....................................................................62 1) Past Approaches to Symbolism in Pinter’s Theatre ......................................................64 2) Contextual Affinities .....................................................................................................68 3) A Theatre of Images ......................................................................................................73 4) The Room Image ...........................................................................................................77 5) An Anxious and Haunted Interior: The Room ...............................................................82 6) Soundscapes...................................................................................................................92 7) Architectural Design of Space .....................................................................................107 8) Monodrama ..................................................................................................................111