3,758 research outputs found
Harold Pinter
No full textHarold Pinter is one of the most important writers in English of the late twentieth century and early twenty-first century. This brief biography offers fresh insights into his life and work, concentrating on the themes, patterns, relationships, ideas and language common to his life and creative output. Placing Pinter's life and work alongside each other, the study illuminates Pinter's vision of society, politics, gender, sex, violence and human relationships. Drawing upon the full-range of his work, his letters, journalism, and writings about him, Baker combines a biographical approach with close (re)readings of his work to create a fresh perspective on his life and art. The book offers students, academics and readers a rich depiction of Harold Pinter, the man and the writer.Intro -- Contents -- Acknowledgements -- Introduction -- 1. Growing Up -- 2. Ireland, Precarious Existence and Marriage -- 3. Early Plays -- 4. Success -- 5. Turning Points -- 6. The 1970s and 1980s -- 7. The 1990s and Beyond: Political Engagement -- 8. Conclusion: Cancer, the Nobel Prize, Mutations of Mortality, Poetry -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Y -- ZHarold Pinter is one of the most important writers in English of the late twentieth century and early twenty-first century. This brief biography offers fresh insights into his life and work, concentrating on the themes, patterns, relationships, ideas and language common to his life and creative output. Placing Pinter's life and work alongside each other, the study illuminates Pinter's vision of society, politics, gender, sex, violence and human relationships. Drawing upon the full-range of his work, his letters, journalism, and writings about him, Baker combines a biographical approach with close (re)readings of his work to create a fresh perspective on his life and art. The book offers students, academics and readers a rich depiction of Harold Pinter, the man and the writer.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Harold Pinter and the Performance of Power: Considerations of Affect in Select Plays, Screenplays and Films, Poetry and Political Speeches
Full text linkThis thesis looks at selections of Harold Pinter's work across multiple media: written dramatic texts, screenplays and poetry, activity in theatrical and film production and his political activism. It has been argued that Pinter's dramatic medium is exceeded by movements, intensities and
forces that operate on and circulate within the corporeal bodies of Pinter's 'audiences'. However, approaches to Pinter to date remain overly focused on representation and hermeneutics and tied to a decidedly idealist conception of being, perception and knowledge. I argue that in order to
appreciate the politics of Pinter's aesthetics, readings of Pinter's work need to move in a more decidedly materialist direction. To do so, I enlist the conceptual tools of Gilles Deleuze and felix Guattari, specifically 'affect'. In bringing affect theory to Pinter I illustrate how 'the direct, mutual involvement of language and extra-linguistic forces,1 must be taken into account at every
critical step, and that meaning need be construed as a material process, the expression of forces
acting upon each other. The diversity of Pinter's work is explored over six chapters with a view to its aesthetic disposition and function, how it enters into noteworthy relations with those who engage with it, and how it establishes conditions that are propitious for transitory but ultimately productive trans formative encounters. Proceeding as such necessitates appraisal of ethical and
political positions in relation to Pinter's expression without distinguishing politics from aesthetics - a trend common to intellectual enterprise. Rather, the three keywords in the title of this thesis - performance, power and affect - function as concepts to advance the argument for Pinter's aesthetics as a politics. In considering the aesthetics of Pinter's work in varied media, this thesis invites the reader to see the strategies by which Pinter intervenes in each area as interrelated and political
Escritura, política y Ashes to Ashes: entrevista con Harold Pinter
No full textLa obra del dramaturgo Harold Pinter (1930-2008), premio Nobel de Literatura en 2005, circula con intensidad por un territorio marcado por el riesgo artístico, el rigor conceptual y el compromiso político. Sus dramas a menudo indagan en conflictos relacionados con la identidad personal, la opresión social y las vicisitudes de la memoria. En abril la compañía Anaclé Producciones presentó en el Teatro Fernando de Rojas del CBA El amante, una breve pieza de la producción temprana de Pinter centrada en el amor, la pareja, sus compromisos y su manera de reinventarse
Pinter as Poet, Pinter as Politician
No full textWidely celebrated as one of the greatest playwrights of the second half of the twentieth century, the playwright Harold Pinter is rarely maligned. Pinter's poetry, however, is often sidestepped, with critics generally regarding it as lacking the deftness of his drama. Following on from Basil Chiasson in The Late Harold Pinter: Political Dramatist, Poet and Activist (2017), this article focuses on Pinter's often neglected poetic works. It reads Pinter's poetry in the context of the Cold War, Gulf War, and Iraq War to unpick the political resonances within poems such as “Partners” (1985), “American Football” (1991), “Don't Look” (1995), and “God Bless America” (2003). Through reference to Jean Baudrillard's article “The Gulf War Did Not Take Place” (1991), this article examines Pinter's poetry in light of what we now call “fake news.”</p
The city and landscapes beyond Harold Pinter's rooms
Full text linkPinter's dramas have been labelled as 'absurd', 'mysterious', 'enigmatic', 'taciturn'.
There has been a constant tendency to reduce the idea of the 'Pinteresque' to language
when Pinter is preoccupied with the tensions between reality and the world of the
imagination. He has, actually and accurately, used theatre as a 'critical act' to denote
the abstracted realities, and he has applied his language to embody his world-view - his
concerns in the contemporary capitalist world.
Pinter has journeyed from the room to the outside world, from the private to the public
social space, and has identified an inescapable sense of pessimism and alienation, and
investigated an alarming world of atrocities. There are cities and landscapes beyond
Pinter's rooms, cities peopled by wandering, displaced figures surveying the self-estranged city that is modern consciousness, and landscapes where his people retreat
into the private realms of memory and fantasy.
This thesis explores the virtual geographies beyond Pinter's rooms through the
vocabulary of some modernist theoreticians and social scientists, as there are significant
parallels between their analytical observations and the poetic perceptions of Pinter, a
practising artist, and the phantom images of his characters.
Pinter's plays and film adaptations tend to portray the city as a colonial present, and the
country as a mythological past. The 1970s' plays portray a community of isolation,
urban decay, dispossession and suffering, through the figure of the 'flâneur' - his
characters' subjective experiences, memories and fantasies in the metropolis. In these
memory plays, men and women have different mental landscapes and desires. To some
extent the city is both a male-constructed world and an image of the twentieth century;
in both senses it is anti-human and in decline.
In his 1980s mature plays, Pinter's lyrical interiors and serene landscapes are colonised
by the metropolis. Here Pinter investigates a universally oppressive space filled with
misery and social dislocation. The city destroys humanity in a decaying modem world.
These plays identify the global city as the locus of existential alienation and as the
centre of political power and oppression - a world of brute masculine power.
The last two plays, in this study explore other wastelands of human isolation and
suffering, and criticise the British suspicion of the 'intelligentsia'. Using scenes that are
ingrained in the contemporary audience's physical memory, Pinter makes the
distinction between being an active participant and being a witness, a 'spectator' in this
alarming world. And thus, he criticises the tradition of mockery of the artistic and the
intellectually curious in Britain, and urges a need for a 'politically curious', at politically questioning theatre-going society
Postcard, Here\u27s to You, Harold Pinter, at Studio@620, St. Petersburg, Florida
No full textA promotional postcard for Here\u27s to You, Harold Pinter (The Late, Great Harold Pinter), a production by Revolve Theatre Company at Studio@620. The performance included Harold Pinter\u27s plays Victoria Station, Ashes to Ashes, and A Kind of Alaska, featuring actors Chris Jackson, Jessica Alexander, James Rayfield, Meg Heimstead, and David O\u27Hara.https://digitalcommons.usf.edu/bdj_studioat620_postcards/1061/thumbnail.jp
Martin Eve on Nice Fish at the Harold Pinter Theatre
No full textA short review of Nice Fish at the Harold Pinter Theatr
Harold Pinter's aging male speakers: affect of exhaustion and metaphors of agency
No full text�Does speech evoke exhaustion as a subjective affect in the experience of aging? The article traces this question by navigating through the plays of Harold Pinter. Cognitive experiments and social studies on �ageism� variously approach the effect of aging on language. Inverting this causality, the article shows how the elderly �frenemies� in Pinter's No Man's Land suggest linguistic exhaustion as the affective cause (and not effect) of aging. No Man's Land offers a culmination by not only indicating this exhaustion but also by glimpsing the agency of old age in a metaphoric capture that offers resolution. Pinter aestheticizes this �no man�s land� by turning it into a poetic metaphor, which bears an implicit critique of negative ageism. Situating the poetics of aging in dramatic language and anchoring it in the debate about the �conceptual� or �linguistic� status of metaphor opens up the exact nature of Pinter's metaphors
Harold Pinter
No full textHarold Pinter var en britisk dramatiker. Han var søn af en jødisk skrædder og oplevede 1930'rnes antisemitisme og senere også blitzen over London. Pinter blev uddannet som skuespiller og fik solid praktisk erfaring på scenen, før han fra 1960 opgav skuespillerkarrieren, bortset fra nogle småroller på film. I 2005 modtog han Nobelprisen i litteratur
Palliative Care and the Dance of Death in Harold Pinter's Moonlight
No full textAs we live through a global pandemic, how do our experiences of healthcare and lockdown influence our engagement with theatre? In what ways is COVID-19 raising concerns about the availability of palliative care? More specifically, how does the work of Harold Pinter help us to understand our relationship toward caretaking and caregiving? This article explores these questions through its engagement with Pinter's 1993 play Moonlight.</p
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