Erlina Suwardi 2009-031-055 Character Analysis of Harold Pinter’s The Caretaker In drama‚ characters play a dominant role in order to present the scenes. Whether good or bad the characters are‚ they are the ones who make the play and without them‚ there will be no play can be presented. In this play ‚ there are only three characters‚ the brothers‚ which are Aston and Mick‚ and the old tramp‚ Davies. It begins with Aston who brings Davies to his place owned by his brother‚ Mick. Aston allows
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Harold Pinter: Independent and critical to the last The World Socialist Web Site has commented several times on playwright Harold Pinter‚ who died last week aged 78. He was a courageous and consistent voice of opposition to the military policies of British and American imperialism. When he was awarded the Nobel Prize for Literature in October 2005‚ to his credit‚ not a single party leader in Britain congratulated him on it. Pinter’s opposition to their criminal policies in Iraq and the Balkans
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awareness of tradition‚ and the tension between the acknowledgment of literary influence and its rejection’. Nowadays‚ writers are judged according to their originality and uniqueness. However‚ as T.S Eliot in ‘Tradition and the Individual Talent’ and Harold Bloom in The Anxiety of Influence suggest‚ a writer should not be evaluated in these terms‚ but rather‚ on how he produces art by acknowledging his predecessors. Nevertheless‚ they declare that the poet must not imitate blindly previous poets. Henceforth
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messages‚ characters and storylines involved in the novels and plays they wrote. For instance‚ Harold Pinter uses his theatre of absurd writing style to demonstrate part of his life story through two of his plays‚ The Homecoming and The Caretaker. In these plays the characters are confined to one room as a way to face what society expects everyone to act like. Even like the characters in his plays‚ Harold Pinter had to seclude himself from society in order for him to understand the unrealistic‚ pointless
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[Type the company address] 08 Fall Destroying Stereotypes in “Harold and Kumar go to White Castle” Keith Hernandez 3/6/12 Professor Sandoval CHLS 341 “Harold and Kumar go to White Castle” is a film unlike any I’ve ever seen. Not because it involved to successful “pot heads”‚ not because it their journey to a White Castle restaurant took an entire night to get to (although that is part of it)‚ or even because it starred Neil Patrick Harris as a complete drug addict looking for the next
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1. Hal Ashby’s film‚ Harold and Maude‚ is full of subtle uses of technique used cleverly to advance the plot of the film. Perhaps the slyest example of this is the use of overlaying once scene from the next. Often the dialogue are is over-laid from one scene to the next for example‚ a shot still focused on Harold’s face as his Uncle Victor begins speaking before the cut to him in his office has taken place. This is a clever way of drawing in the audience; the voice is displaced‚ neither coming
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Chapter One 1.1. Background : Harold Pinter occupies a very significant position in the contemporary British theatre. He is a dramatist‚ scriptwriter‚ short story writer‚ director‚ and actor and in his later plays‚ he has become a political voice of Human Rights issues. He is considered the most respected writer for the stage in the world today. He was born in a Jewish family on October 10-1930 at Hackney‚ in London’s East End‚ an area with a Jewish population. This working-
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http://www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 Multidimensional dialogues in Harold Pinter’s Old Times Dr. Dinesh Panwar‚ Department of English‚ Ajay Kumar Garg Engineering College‚ GZB‚ India Pinter ’s dramatic dialogue is based on both the colloquial and a neatly structured manipulation of the vernacular. In reviewing the Brimingham‚ Repertory Theatre ’s 1993 production of Old Times‚ Michael Billington stresses the important theatric
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“Master Harold and the boys” - Athol Fugard Mid 1950’s in South Africa‚ a country in continuous turmoil by racism and segregation. Athol Fugard brings his play to life‚ by using symbolic metaphor techniques with a driving story of a young teen (Harold Hally) going through personal and family difficulty with his two colored servants (Sam Semala) and (Willie Malopo)‚ this piece emphasizes more than the general issue of racism‚ it describes how sparks of hope can influence an individuals perception
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The Metaphor of Dance in Fugard’s “Master Harold”…and the Boys In Athol Fugard’s play “Master Harold”… and the Boys dance becomes a metaphor for how society can work harmoniously together‚ yet there are conflicts that prevent it from happening. Specifically‚ ballroom dance becomes a metaphor to show the conflict between a cooperative society and the disappointment associated with life and our inability to force change. This is expressed by Sam teaching Willie the mastery of dance and also educating
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