An analysis of motif in harold pinters work

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An analysis of motif in harold pinters work

Pinteresque[ edit ] "That Harold Pinter 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: The term "Pinteresque" has had an established place in the English language for almost thirty years.

The OED defines it as "of or relating to the British playwright, Harold Pinter, or his works"; thus, like a snake swallowing its own tail the definition forms the impenetrable logic of a closed circle and begs the tricky question [sic] of what the word specifically means.

Pinter restored theatre to its basic elements: With a minimum of plot, drama emerges from the power struggle and hide-and-seek of interlocution. Pinter's drama was first perceived as a variation of absurd theatrebut has later more aptly been characterised as 'comedy of menace', a genre where the writer allows us to eavesdrop on the play of domination and submission hidden in the most mundane of conversations.

In a typical Pinter play, we meet people defending themselves against intrusion or their own impulses by entrenching themselves in a reduced and controlled existence. Another principal theme is the volatility and elusiveness of the past.

Over the years Pinter himself has "always been very dismissive when people have talked about languages and silences and situations as being 'Pinteresque'," observes Kirsty Wark in their interview on Newsnight Review broadcast on 23 June ; she wonders, "Will you finally acknowledge there is such a thing as a 'Pinteresque' moment?

You use the term 'menace' and so on. I have no explanation of any of that really. What I write is what I write. Comedy of menace Once asked what his plays are about, Pinter lobbed back a phrase "the weasel under the cocktail cabinet", which he regrets has been taken seriously and applied in popular criticism: Once many years ago, I found myself engaged uneasily in a public discussion on theatre.

Someone asked me what was my work 'about'. I replied with no thought at all and merely to frustrate this line of enquiry: This was a great mistake. Over the years I have seen that remark quoted in a number of learned columns. It has now seemingly acquired a profound significance, and is seen to be a highly relevant and meaningful observation about my own work.

But for me the remark meant precisely nothing. For although Pinter repudiated it, it does contain an important clue about his relationship to English dramatic tradition Sofer 29 ; "Mr.

In Decemberin his interview with Pinter about Old TimesMel Gussow recalled that "After The Homecoming [Pinter] said that [he] 'couldn't any longer stay in the room with this bunch of people who opened doors and came in and went out.

Landscape and Silence [the two short poetic memory plays that were written between The Homecoming and Old Times] are in a very different form. There isn't any menace at all. I never thought of menace myself. It was called 'comedy of menace' quite a long time ago.

I never stuck categories on myself, or on any of us [playwrights].

An analysis of motif in harold pinters work

But if what I understand the word menace to mean is certain elements that I have employed in the past in the shape of a particular play, then I don't think it's worthy of much more exploration. There are two silences. One when no word is spoken.

The Birthday Party (play) - Wikipedia

The other when perhaps a torrent of language is being employed. This speech is speaking of a language locked beneath it. That is its continual reference.

An analysis of motif in harold pinters work

The speech we hear is an indication of that which we don't hear. It is a necessary avoidance, a violent, sly, anguished or mocking smoke screen which keeps the other in its place.

When true silence falls we are still left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness.Character Analysis of Harold Pinter's the Caretaker Words | 4 Pages Erlina Suwardi Character Analysis of Harold Pinter’s The Caretaker In drama, characters play a dominant role in order to present the scenes.

The Homecoming study guide contains a biography of Harold Pinter, literature essays, quiz questions, major themes, characters, and a full summary and analysis. . PINTER'S THE BIRTHDAY PARTY: A DIRECTOR'S ANALYSIS AND PRODUCTION PROCESS By Steven A. Schwartz B.A., State University College at Oswego, New York, Presented in partial fulfillment of the requirements for the degree of Master of Fine Arts University of Montana Approved by Chai Vman, Board 'of Eltaminers DfcTn, Graduate ScTiool Date.

Characters and Their History:

A summary of Motifs in Harold Pinter's The Dumb Waiter. Learn exactly what happened in this chapter, scene, or section of The Dumb Waiter and what it means. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans. The Dramatic World of Harold Pinter: Its Basis in Ritual.

Columbus: Ohio State University Press, An analysis of Pinter’s work viewed through Freudian, Marxist, and myth analyses. While most other analyses of Pinter's work concentrate either on the language or on the room-tomb•womb motif• no other study offers any detailed vetconnexx.com the dominant•subser·.rient relations between characters.

Nor does any study make use of Pinter's own insights into the use of dominance and subservience h his plays.

Harold Pinter Writing Styles in The Birthday Party | vetconnexx.com