Two Plays by Harold Pinter. Grove Press, Evergreen Books,
Margarete Rubik To my grandmother, the queen of fervent argument. Acknowledgements I would like to thank my family and friends for their ongoing financial support, encouragement, patience in enduring all my lousy moods and sincere interest in everything I do.
Their love, laughter and listening have been invaluable sources of energy and happiness while I was writing this thesis. I am grateful to Prof. Margarete Rubik for believing in my abilities and giving me plenty of freedom for developing my ideas.
I am also grateful to Prof. David Bradby, whose brilliant course on absurdist drama during my Erasmus year at Royal Holloway College has turned out to be very inspiring and useful. My special thanks go to Aleks Sierz, whose friendly advice was encouraging and much appreciated.
I am very much indebted to my colleagues from the Diplomarbeitsgruppe for their honesty in sharing personal experiences and their constructive criticism. It would have been so much harder without them! Their inspiring activism reminded me of the actual purpose of studying, the importance of critical thinking and the responsibility that comes with it.
Vienna, July Table of contents 1.
Comparing absurdist theatre and in-yer-face theatre The non -development of action Action and event in Waiting for Godot Action and event in in-yer-face plays Character conception in in-yer-face plays The loss of self-hood and the action of objects Setting in in-yer-face plays Offstage spaces in in-yer-face plays The absurdity of ordinary speech Repetitive patterns and the dialogue of stagnation The body of the language Experiental theatre, sensibilities and the influence of absurdist theatre on inyer-face plays Artaud, absurdist theatre and in-yer-face plays: Introduction My most memorable visit to theatre happened in spring Being used to school performances by Vienna's English Theatre in which a bunch of actors were performing realistic family crisis plays in easily-transportable naturalistic sets in front of several hundreds of puberty-stricken teenagers, this night at the theatre took me by surprise: The two got themselves tangled up in fruitless conversational patterns which were accompanied and reflected by circular patterns of movement and pointless activity, until there was nothing left but two people, lost in time, space and words.
I left the Akademietheater in a strange state of shock, fascination but also euphoria, feeling that I had witnessed something depressing and strangely uplifting at the same time.
Several years passed before another play provided a similarly impressive experience. Most of the time, she seemed to be only articulating the patient's immediate thoughts, which she traced, physically, by moving back, forth and sideways through the room.
It was as if each sentence had a certain spatial movement as its equivalent, and the woman was actually walking through a labyrinth of words and thoughts, finally getting lost.
Watching her, the audience itself seemed to get dragged into this labyrinth. Again, I left the theatre utterly fascinated and inspired. Later, I learned that the play was called 4. Whatever the differences between Endgame, premiered inand 4. Through the essentially anti-naturalistic mode which both productions displayed, theatre suddenly seemed to make sense to me.
This singular intensity which I had never encountered with any other kind of drama and which, for me, was somehow related to a rejection of theatrical realism was what first made me think that 2 there was a link between in-yer-face and absurdist theatre.Pinter's is the 'world of the absurdist' in which we find 'characters incapable of communication', but who nevertheless seem to achieve the impossible by using Pinter's language.
in The Caretaker, Harold Pinter, like Mohan Rakesh the Hindi novelist did not make use of the words because of their sounds, but for the dramatics conveyed by. Harold Pinter photographed in September Find this Pin and more on empowerment by Ka Tinka.
This is a picture of Harold Pinter fighting oppression with words. Harold Pinter. An analysis of Harold Pinter's 'The Homecoming' with particular attention to the glass of water scene.
MORE. Sign In Join. 3. Owlcation» Humanities» Performing Arts; Analysis: the Homecoming by Harold Pinter. Updated on February 27, Astrid North's Study Guide.
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Name: Trivedi Hezal K. A Bakhtinian Analysis of William Faulkner's As I Lay Dying. Bookmark. Polyphony; The Great Gatsby from an Absurdist perspective. Bookmark. Download. by Mohamed Salah Eddine Madiou; Existentialism; The Myth of the Dark Continent, representation of Africa in Conrad's Heart of Darkness.
Bookmark. The Absurd in Harold Pinter's The Caretaker. Characteristics of Theatre of the Absurd Listed below are some characteristics of Theatre of the srmvision.com all plays will include all these elem.