The language of his characters, bumbling, repetitive, circular, is actually more realistic-more like actual human speech-than the precise and rhetorically patterned dialogue found in what is considered to be “realistic” drama. It is particularly with the meticulously rendered, tape-recorder-accurate language of his characters that Pinter pulls the naturalistic and absurdist strands of his drama all together. Like Kafka, Pinter portrays the absurdity of human existence with a loving attention to detail that creates the deceptive naturalism of his surfaces. As a young man, before he started writing plays, the works of Franz Kafka and Samuel Beckett made a great impression on Pinter. His closest affinities are with a more centrally important movement, the Theater of the Absurd. His first plays, with their dingy, working-class settings and surface naturalism, seemed to link Pinter with this group, but only the surface of his plays is naturalistic most of a Pinter play takes place beneath the surface. Harold Pinter (10 October 1930 – 24 December 2008) is sometimes associated with the generation of British playwrights who emerged in the 1950’s and are known as the Angry Young Men.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |