Abstract This paper discusses the ways of communication of two characters Ben and Gus in Harold Pinter’s play‚ dumb waiter. Ben and Gus are two assassins awaiting the arrival of their next victim in a dank basement. The pair inhabits a pantomimic parody of world where nothing is ever accomplished through their dialogue. As a result they talk‚ but they don’t communicate. This paper examines four kinds of their communication and the violence and menace underneath it. It also explores the concept of
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Högskolan Dalarna English D Literature Essay Supervisor: Elin Holmsten Harold Pinter: A Night Out A Study in the Political Connotations And the Abuse of Power Autumn 2006 Layla Bseiso 810904T007 Trapplan 2E 79137 Falun 0738307252 h06laybs@du.se Contents Introduction ............................................................................................................................. 1 Verbal Abuse ....................................................................
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the play is ambiguous’ (Innes) Discuss this assessment of ‘The Caretaker’ When I saw the Caretaker‚ I told Pinter I knew what it meant‚ “It’s about the God of the Old Testament‚ the God of the New‚ and Humanity‚ isn’t it?”. Pinter replied‚ “No Terry‚ it’s about a caretaker and two brothers”. With this quote Terence Rattigan succinctly highlights the absolute ambiguity of Harold Pinter’s ‘The Caretaker’; in this story of two brothers and an elderly derelict in close quarters‚ everything that
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Request Stop Harold Pinter Harold Pinter was an English playwright‚ screenwriter ‚ actor‚ theatre director and poet. He was of the most influential and imitated of modern British dramatists. Pinter’s writing career spanned over 50 years. Pinter’s dramas often involve strong conflicts between ambivalent characters who struggle for verbal and territorial dominance and for their own versions of the past. Stylistically‚ his works are marked by theatrical pauses and silences‚ irony and menace.
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The Homecoming: Theme of Power Introduction: Harold Pinter was born in the 1930s and lived through both World War 1 and World War 2. The decade in which the story was written and first staged is important to its interpretation. The 1960s was a decade in which women’s liberation was a prominent movement. Movies and art reflected it‚ protests were made and bras burned. The Homecoming was written during this period and the entire plot line seems a tennis match of power between the sexes. Theme of
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1 Please write a description of the mise-en-scene and musical sore from the opening scene. Note: you will want to write notes on this as you watch for the first time. Why do you think the director‚ Hal Ashby‚ made these choices? Defend your answer. The mise-en-scene of the opening scene is a boy dressed in brown tones with neutral and similar tones around the boy. The song is actually the opposite though because it is saying words like keep your head up high and the song has a “bouncy” beat to it
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arguments with his younger self from the recording of his 39th year. Krapp ends the play by listening again to the same clip heard throughout the play about the lost love. Watching Harold Pinter in Samuel Beckett’s “Krapp’s Last Tape‚” I became more than a bit depressed. Beckett’s character is played tremendously by Pinter. He encompasses the dismal feeling of Krapp: using perfect facial expressions and mannerisms to portray a
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Write a comparison between ’Richard III’ by William Shakespeare and ’The Homecoming’ by Harold Pinter To introduce‚ the extract taken from the play ’Richard III’‚ is scene Act 1 Scene 2. It can be considered one of the many iconic scenes in Shakespeare’s ’Richard III’; and arguable one of‚ if not‚ the most iconic for its importance in showing the power of influence displayed by Richard over Lady Anne. Whereas‚ in ’The Homecoming’ this scene is between Ruth (the wife of Teddy) and Lenny (Teddy’s
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assumptions and values of western history. “There are no hard distinctions between what is real and what is unreal‚ nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.” – Harold Pinter Harold Pinter states a postmodern reality can be perceived differently‚ that there may not be only one way of viewing things. Postmodernism begins in 1968 in Paris‚ when college students and professors joined workers and revolted against repressive French
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acting to produce an anomalous yet comical and entertaining style of theatre. Emerging in the late 1940’s‚ authors such as Beckett‚ Camus and Pinter were pioneers of Theatre of the absurd‚ who to some extent redefined modern theatre‚ yet Pinter describes his works as merely “symbolic realism” as opposed to absurd. The plays “The Caretaker” by Harold Pinter and “A Streetcar Named Desire” by Tennessee Williams are both classic plays of their genre‚ truly exploiting the absurd and realistic styles of
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