Harold Pinter on International Stages
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Harold Pinter is inarguably one of the most influential modern British dramatists. The horizon of his literary, cultural and political activity stretches far beyond the borders of his homeland, as well as beyond the theatrical and literary world. The essays in this volume deal with the reception of his literary (and political) heritage in several European and non-European Countries, offering previously unpublished research. They bring together a variety of aspects focusing on Pinter in the former region of Eastern Europe like Hungary, Poland, Turkey, Croatia, Macedonia and Slovenia, where his literary ideas as well as political activism seem fully applicable. They are balanced by selected Western perspectives, including Italian, British and American ones.
dramatic art as one of the leading representatives of absurd drama and the ‘comedy of menace’ tradition, he has found little support among Turkish theatregoers as Preface 13 a dramatist. Gömceli discusses the reasons for Pinter’s mixed reception by Turkish audiences, with special emphasis on two of his explicitly political plays, One for the Road and Mountain Language, which were produced after his visit to Turkey in 1985 on behalf of International PEN. In the concluding chapter, Susan
everything is possible; therefore, nothing ought to be taken seriously. His people are personalities without a goal; they have at their disposal certain means, first and foremost speech, in the validity of which they deeply doubt, so they speak at the wrong places, they are silent just when they ought to utter a human word about themselves, and they constantly provoke each other with cleverly directed misunderstandings. From the beginning, they play the wrong, false notes on the keyboard of
Macedonia on the western side of the country. The following comments are an impressionistic attempt to evaluate the impact of Pinter in one particular classroom (the writer’s own) in Macedonia. At South East European University, Pinter’s work features on the syllabus for Modern/Postmodern Literature, a course which students encounter in the fifth semester of their three-year BA degree in English Language and Literature. As part of this course, students can sample modern drama as represented by
this becomes in the television broadcast lasts just over three minutes. It starts, following the trajectory of stockings being pulled up Sarah’s legs, focussing on the female form, and it ends – following a brief camera pan to concentrate on Sarah’s legs again, with her opening the door to her lover Max. At one point the actress, Vivien Merchant, has clearly been instructed to hold her hand unnaturally high after zipping up the back of her dress, rather than letting it fall naturally. This
the Martin E. Segal Theatre Center on 15 Sept. 2011, I am borrowing the following definition of repurposing as: “taking preexisting works, events or texts as the basis for new performances.” 6 On 13 October 2005, in a video news report that went viral on YouTube, the Sky News presenter, Ginny Buckley, first announced Pinter’s death instead of his winning the Nobel Prize and then, apparently following directions from her earpiece, corrected herself. She even mispronounced Harold as Howard at