Harold Pinter
Plays, including
The Birthday Party
(1958) and
The Dumb Waiter
(1960), of British playwright, screenwriter, and director Harold Pinter create an atmosphere of menace; people awarded him the Nobel Prize for literature in 2005.
This English actor, political activist, and poet ranks of the most influential of modern times.
After publishing poetry and acting in school plays as a teenager in London, Pinter, touring throughout Ireland, began his professional theatrical career in 1951. From 1952, he acted in repertory companies throughout England for a dozen years; he used the stage name David Baron in the late 1950s. Beginning with
The Room
(1957), first play, of Pinter, his writing career spanned over a half-century and produced 29 original stage plays, 27 screenplays, many dramatic sketches, radio plays, television plays, poetry, one novel, short fiction, essays, speeches, and letters. His best-known plays include The Caretaker (1959), The Homecoming (1964), and Betrayal (1978), each of which he adapted to film. His screenplay adaptations of others' works include The Servant (1963), The Go-Between (1970), The French Lieutenant's Woman (1981), The Trial (1993), and Sleuth (2007). He directed almost 50 stage, television, and film productions and acted extensively in radio, stage, television, and film productions of his own and others' works. Despite frail health after being diagnosed with esophageal cancer in December 2001, Pinter continued to act on stage and screen, last performing the title role in a critically-acclaimed stage production of Samuel Beckett's one-act monologue Krapp's Last Tape, for the 50th anniversary season of the Royal Court Theatre, in October 2006.
Pinter's dramas often involve strong conflicts among ambivalent characters who struggle for verbal and territorial dominance and for their own versions of the past. Stylistically, these works are marked by theatrical pauses and silences, comedic timing, irony and menace. Thematically ambiguous, they raise complex issues of individual identity oppressed by social forces, language, and vicissitudes of memory. In 1981, Pinter stated that he was not inclined to write plays explicitly about political subjects; yet in the mid-1980s he began writing overtly political plays, reflecting his own heightening political interests and changes in his personal life. This "new direction" in his work and his left-wing political activism stimulated additional critical debate about Pinter's politics. Pinter, his work, and his politics have been the subject of voluminous critical commentary.
Pinter received numerous awards. In addition to the Nobel Prize, he received the Tony Award for Best Play in 1967 for The Homecoming. He was given BAFTA awards, the French Légion d'honneur and 20 honorary degrees. Festivals and symposia have been devoted to him and his work. In awarding the Nobel Prize, the Swedish Academy noted, "That he occupies a position as a modern classic is illustrated by his name entering the language as an adjective used to describe a particular atmosphere and environment in drama: 'Pinteresque'". He died from liver cancer on 24 December 2008. He was buried the following week at Kensal Green Cemetery in North West London.
“I can't really articulate what I feel,”
“I hate brandy...it stinks of modern literature.”
“هناك أشياء يستطيع الإنسان أن يتذكرها ولو أنها لم تحدث إطلاقا. هناك أمور أتذكرها ربما لم تحدث أبدا، لكن عندما أسترجعها تحتل مكانا في خيالي.”
“The speech we hear is an indication of that which we don't hear. It is a necessary avoidance, a violent, sly, and anguished or mocking smoke screen which keeps the other in its true place. When true silence falls we are left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness.”
“JERRY: Look at the way you're looking at me. I can't wait for you. I'm bowled over, I'm totally knocked out, you dazzle me, you jewel, my jewel, I can't ever sleep again, no, listen, it's the truth, I won't walk, I'll be a cripple, I'll descend, I'll diminish, into total paralysis, my life is in your hands, that's what you're banishing me to, a state of catatonia, do you know the state of catatonia? do you? do you? the state of...where the reigning prince is the prince of emptiness, the prince of absence, the prince of desolation. I love you.EMMA: My husband is at the other side of that door.JERRY: Everyone knows. The world knows. It knows. But they'll never know, they'll never know, they're in a different world. I adore you. I'm madly in love with you. I can't believe that what anyone is at this moment saying has ever happened has ever happened. Nothing has ever happened. Nothing. Your eyes kill me. I'm lost. You're wonderful.”
“I'll tell you what I really think about politicians. The other night I watched some politicians on television talking about Vietnam. I wanted very much to burst through the screen with a flame thrower and burn their eyes out and their balls off and then inquire from them how they would assess the action from a political point of view.”
“I know the placeI know the place.It is true.Everything we doCorrects the spaceBetween death and meAnd you.”
“When you lead a life of scholarship you can't be bothered with the humorous realities, you know, tits, that kind of thing.”
“I think we communicate only too well, in our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rearguard attempts to keep ourselves to ourselves. Communication is too alarming. To enter into someone else's life is too frightening. To disclose to others the poverty within us is too fearsome a possibility.”
“The invasion of Iraq was a bandit act, an act ofblatant state terrorism, demonstrating absolute contempt for the concept of international law.”
“You wouldn't understand my works. You wouldn't have the faintest idea of what they were about. You wouldn't appreciate the points of reference. You're way behind. All of you. There's no point in sending you my works. You'd be lost. It's nothing to do with a question of intelligence. It's a way of being able to look at the world. It's a question of how far you can operate on things and not in things. I mean it's a question of your capacity to ally the two, to relate the two, to balance the two. To see, to be able to see! I'm the one who can see. That's why I can write my critical works. Might do you good...have a look at them...see how certain people can view...things...how certain people can maintain...intellectual equilibrium. Intellectual equilibrium. You're just objects. You just...move about. I can observe it. I can see what you do. It's the same as I do. But you're lost in it. You won't get me being...I won't be lost in it.”
“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.”
“One way of looking at speech is to say that it is a constant stratagem to cover nakedness.”
“There are some things one remembers even though they may never have happened.”