Harold Pinter stands as one of the most influential playwrights of modern times. His works are distinguished by theatrical pauses and silences, comedic timing, irony, and menace. Pinter's dramas often feature intense conflicts among ambivalent characters vying for verbal and territorial dominance, as well as for their own versions of the past. His thematically ambiguous plays delve into complex issues of individual identity oppressed by social forces, language, and the vicissitudes of memory.
Four (Old Time, No Man's Land, Betrayal, Monologue, Family Voices , A Kind of Alaska, One for the Road, Mountain Language)
This volume contains the plays Harold Pinter wrote during the 1970s and 1980s: Old Times, No Man's Land, Betrayal, One for the Road, and Mountain Language. Also included is the one-act triple-bill Other Places, composed of Family Voices, A Kind of Alaska, and Victoria Station.
NATO’s war on Yugoslavia in the spring of 1999 was unleashed in the name of democracy and human rights. This view was challenged by the world’s three largest countries, India, China and Russia, who saw the bombing of Serbia and Kosovo as a naked attempt to assert US dominance in an unstable world.In the West, media networks were joined by substantial sectors of left/liberal opinion in supporting the war. Nonetheless, a wide variety of figures emerged to challenge the prevailing consensus. Their work, gathered here for the first time, forms a collection of key statements and anti-war writings from some of democracy’s most eloquent dissidents—Noam Chomsky, Harold Pinter, Edward Said and many others—who provide carefully researched examinations of the real motives for the US action, dissections and critiques of the ideology of ‘humanitarian warfare’, and chartings of the unnecessary tragedy of a region laid to waste in the pursuance of Great Power politics.This reader presents some of the most important texts on NATO’s Balkan crusade and forms a major intervention in the debate on global geo-political strategy after the Cold War.
A unique testimony to modern literature's most celebrated and enduring marriage.
In the early 1970s Harold Pinter joined forces with director Joseph Losey and Proust scholar Barbara Bray to develop a screenplay of Proust's masterpiece, Remembrance of Things Past. Pinter took more than a year to conceive and write the screenplay and called the experience "the best working year of my life." Although never produced, Harold Pinter's The Proust Screenplay is considered one of the greatest adaptations for the cinema ever written.With fidelity to Proust's text, the screenplay is an extraordinary re-creation by one of the leading playwrights of our time. It is, in its way, a unique collaboration between two extraordinary writers united across more than half a century and two different cultures by a special concern for time and memory.
Old Times. No Man's Land. Betrayal. Monologue. Family Voices
This volume contains the plays Harold Pinter wrote during the 1970s and 1980s: Old Times, No Man's Land, Betrayal, One for the Road, and Mountain Language. Also included is the one-act triple-bill Other Places, composed of Family Voices, A Kind of Alaska, and Victoria Station.
This volume contains Harold Pinter's first six plays, including The Birthday Party. The Birthday Party Stanley Webber is visited in his boarding house by two strangers, Goldberg and McCann. An innocent-seeming birthday party for Stanley turns into a nightmare. 'Mr Pinter's terrifying blend of pathos and hatred fuses unforgettably into the stuff of art.' Sunday Times The Room and The Dumb Waiter In these two early one-act plays, Harold Pinter reveals himself as already in full control of his unique ability to make dramatic poetry of the banalities of everyday speech and the precision with which it defines character. 'Harold Pinter is the most original writer to have emerged from the new wave of dramatists who gave fresh life to the British theatre in the fifties and early sixties.' The Times The Hothouse The Hothouse was first produced in 1980, though Harold Pinter wrote the play in 1958, just before commencing work on The Caretaker. In this compelling study of bureaucratic power, we can see the full emergence of a great and original dramatic talent. 'The Hothouse is at once sinister and hilarious, suggesting an unholy alliance of Kafka and Feydeau.' Spectator
Do Hirst and Spooner really know each other, or are they performing an elaborate charade? The ambiguity - and the comedy - intensify with the arrival of Briggs and Foster. All four inhabit a no-man's-land between time present and time remembered, between reality and imagination.
This revised edition of Harold Pinter's Plays 4 features his latest play, Celebration, and highlights Pinter as a leading figure in British drama during the latter half of the twentieth century, as noted by the Swedish Academy in his 2005 Nobel Prize citation.
The second volume of Harold Pinter's collected work includes The Caretaker. The CaretakerIt was with this play that Harold Pinter had his first major success.
Betrayal is Pinter's latest full-length play since the enormous success of No Man's Land. The play begins in 1977, with a meeting between adulterous lovers, Emma and Jerry, two years after their affair has ended. During the nine scenes of the play, we move back in time, through the states of their affair, with the play ending in the house of Emma and Robert, her husband, who is Jerry's best friend.The classic dramatic scenario of the love triangle is manifest in a mediation on the themes of marital infidelity, duplicity, and self-deception. Pinter writes a world that simultaneously glorifies and debases love.
Although best known for his plays, Harold Pinter has also written an extensive and wide-ranging body of other work since 1948; prose, prose fiction, poetry and political writings. In this anthology Pinter presents his own selection, among which are A Note on Shakespeare (1950), a paean to the cricketer Len Hutton (1969), the short stories Kullus (1949) and Girls (1995), the poetry from School Life (1948), and political pieces - including many letters to the press - on the United States, Cuba, Kurdistan and Nicaragua.
In "The Birthday Party", a musician becomes the victim of a ritual murder. Everyone implacably plays out the role assigned to them by fate. "The Room" becomes the scene of a visitation of fate when a blind Negro suddenly arrives to deliver a mysterious message.
Stanley Webber is visited in his boarding house by strangers, Goldberg and McCann. An innocent-seeming birthday party for Stanley turns into a nightmare.The Birthday Party was first performed in 1958 and is now a modern classic. Produced and studied throughout the world.
The Collection develops the themes of menace and lack of communication. The Lover is a one-act play for television, in which two characters play the double parts of wife-mistress and husband-lover. Also included is a short story, The Examination.
This play was first performed in 1960. Harold Pinter specializes in the tragicomedy of the breakdown of communication, broadly in the tradition of the theatre of the absurds and this is demonstrated in both The Caretaker and The Birthday Party.
'An exultant night - a man in total command of his talent.' Observer 'The most intense expression of compressed violence to be found anywhere in Pinter's plays.' The TimesWhen Teddy, a professor in an American university, brings his wife Ruth to visit his old home in London, he finds his family still living in the house. In the conflict that follows, it is Ruth who becomes the focus of the family's struggle for supremacy.
Along with Samuel Beckett and Eugene Ionesco, Harold Pinter holds an undisputed place in the front ranks of contemporary dramatists. In volume two of his collected works, the plays and revue sketches mark a period of transition, as Pinter's characters and settings become more recognizably realistic, in contrast to the absurdist atmosphere of his earlier work. The Caretaker, which first brought him fame on both sides of the Atlantic, was called "a play of strangely compelling beauty and passion" by Howard Taubman of The New York Times. An essay by Pinter, Writing for Myself, introduces this collection.
Le prime rappresentazioni delle opere di Harold Pinter furono letteralmente stroncate da quasi tutta la critica. Si scrisse che era un autore eccentrico, inaccettabile, incomprensibile, che non aveva nulla da dire. Oggi è forse l'autore vivente piú rappresentato al mondo, ma come lui stesso tiene a sottolineare: «Adesso sono diventato comprensibile, accettabile, eppure le mie commedie sono sempre le stesse di allora. Non ho cambiato una sola battuta!» Nel primo volume sono raccolti i testi che hanno rivelato il drammaturgo inglese e ne hanno decretato poi il successo internazionale coronato dal Premio Nobel, in quanto erede e continuatore di maestri come Beckett, Genet e Ionesco; sono Il compleanno, La stanza, Il calapranzi, La serra e Il guardiano .
Le prime rappresentazioni delle opere di Harold Pinter furono letteralmente stroncate da quasi tutta la critica. Si scrisse che era un autore eccentrico, inaccettabile, incomprensibile, che non aveva nulla da dire. Oggi è forse l'autore vivente piú rappresentato al mondo, ma come lui stesso tiene a sottolineare: «Adesso sono diventato comprensibile, accettabile, eppure le mie commedie sono sempre le stesse di allora. Non ho cambiato una sola battuta!»Il secondo volume - che contiene anche alcuni «ritocchi» compiuti dallo stesso autore - comprende le commedie scritte tra il 1962 (The Lover) e il 1991 (Party Time). Dai capolavori della maturità, come Il ritorno a casa del 1964, e Terra di nessuno di dieci anni dopo, alle tragicommedie sulla «menzogna dell'amore» - L'amante, Vecchi tempi, Tradimenti - ai brevi drammi «politici» piú recenti - Il bicchiere della staffa, Il linguaggio della montagna, Party Time, in cui Pinter denuncia, con la consueta forza di ambasciatore di Amnesty International e di illustre rappresentante del P.E.N. Club inglese, torture, guerre, violazioni dei diritti umani e abusi di potere. Il volume è accompagnato dall'appendice Pinter in Italia e da una nota del curatore che dà conto delle altre numerose «arti» di cui egli è maestro: regista, sceneggiatore, attore.
Moderne Theaterstücke
«Ein Meister der Sprache, der mit sparsamen Mitteln große Wirkungen erzielt.» (Süddeutsche Zeitung) Der Ursprung meiner Stücke? Ich will so präzise wie möglich antworten. Ich ging in ein Zimmer, sah einen Menschen, der stand und einen anderen, der saß, und ein paar Wochen später schrieb ich Das Zimmer. Ich ging in ein anderes Zimmer, sah zwei Menschen dasitzen, und ein paar Jahre später schrieb ich Die Geburtstagsfeier. Ich blickte durch eine Tür in ein drittes Zimmer, sah zwei Menschen dastehen und schrieb Der Hausmeister ... Ich bin überzeugt, was in meinen Stücken geschieht, könnte überall, zu jeder Zeit, an jedem Ort geschehen, auch wenn die Ereignisse zunächst fremd erscheinen.
«Mondlicht», «Asche zu Asche» und «Party Time» sind die drei jüngsten Stücke von Harold Pinter, dem nach Shakespeare meistgespielten und einfluss-reichsten britischen Dramatiker. Drei verstörende Meisterwerke auf dem schmalen Grat zwischen Wachen und Träumen.
Fünf neue Kurzdramen
Die in diesem Band zum erstenmal veröffentlichten Kurzdramen von Harold Pinter dokumentieren die ästhetische und inhaltliche Vielschichtigkeit des berühmten englischen Dramatikers auf ungewöhnlich beeindruckende Weise.
Karzełki to jedyna powieść w dorobku angielskiego dramatopisarza, aktora i reżysera, Harolda Pintera (1930–2008), zarazem jeden z jego najwcześniejszych utworów. Choć powstawał w latach 1952–1956, to został opublikowany dopiero ponad trzydzieści lat później. Niniejsza książka jest pierwszym przekładem na język polski tej z wielu względów wyjątkowej pozycji w twórczości autora dramatów Dozorca, Powrót do domu czy Kochanek, dobrze znanych także w Polsce.
Im Mittelpunkt von Pinters einzigem Roman, begonnen in den Fünfzigerjahren und nun vollendet, stehen vier junge Leute: Pete, Geschäftsmann und Menschenfeind; Len, Musiker und Phantast; Mark, Schauspieler und Frauenheld; und die Lehrerin Virginia, die erst Pete und dann Mark liebt. In langen Gesprächen versuchen sie einander näherzukommen und werden sich doch zusehends fremder - einsame Figuren in einer absurden Welt, die sie durchschauen, aber nicht ändern können.
Die Geburtstagsfeier. Der Hausmeister. Die Heimkehr. Betrogen. Celebration
Jednosměrné kyvadlo / N. F. Simpson -- Bezva finta / Ann Jellicoe -- Narozeniny / Harold Pinter -- Návrat domů / Harold Pinter. Čtyři hry tří anglických autorů, které mají ve společném vydání sloužit jako příspěvek systematického poznání absurdního divadla, zvaného též černé divadlo, také černé drama. resp. antidrama. Jde většinou o grotesky krutosti s paradoxní logikou, jejichž „zdravý smysl je v nesmyslu“. Doslov František Vrba.
Divadelní hra, vrcholné dílo anglického dramatika, uznávaného za typického a významného představitele tzv. divadla absurdity v Anglii. Hra vyvolala pozornost i mimo Anglii a bývá vykládána různě. Český vykladač v ní vidí snahu zobrazit "marný pokus starého, zuboženého tuláka, deklasovanéexistence Daviese uchytit, zajistit, zařadit se ve světě".
1986 Broschiert Reclam,
