Harold Pinter
Harold Pinter CBE | |
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Born | London, England | 10 October 1930
Died | 24 December 2008 London, England | (aged 78)
Occupation | Playwright, screenwriter, actor, theatre director, poet |
Alma mater | Royal Central School of Speech and Drama |
Period | 1947–2008 |
Notable awards |
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Spouse | |
Children | 1 |
Signature | |
Website | |
www | |
Literature portal |
Harold Pinter
Pinter was born and raised in
Pinter's career as a playwright began with a production of
Despite frail health after being diagnosed with oesophageal cancer in December 2001, Pinter continued to act on stage and screen, last performing the title role of Samuel Beckett's one-act monologue Krapp's Last Tape, for the 50th anniversary season of the Royal Court Theatre, in October 2006. He died from liver cancer on 24 December 2008.
Biography
Early life and education
Pinter was born on 10 October 1930, in
Pinter's family home in London is described by his official biographer
Pinter discovered his social potential as a student at
At the age of 12, Pinter began writing poetry, and in spring 1947, his poetry was first published in the Hackney Downs School Magazine.[14] In 1950 his poetry was first published outside the school magazine, in Poetry London, some of it under the pseudonym "Harold Pinta".[15][16]
Pinter was an atheist.[17]
Sport and friendship
Pinter enjoyed running and broke the Hackney Downs School sprinting record.[18][19] He was a cricket enthusiast, taking his bat with him when evacuated during the Blitz.[20] In 1971, he told Mel Gussow: "one of my main obsessions in life is the game of cricket—I play and watch and read about it all the time."[21] He was chairman of the Gaieties Cricket Club, a supporter of Yorkshire Cricket Club,[22] and devoted a section of his official website to the sport.[23] One wall of his study was dominated by a portrait of himself as a young man playing cricket, which was described by Sarah Lyall, writing in The New York Times: "The painted Mr. Pinter, poised to swing his bat, has a wicked glint in his eye; testosterone all but flies off the canvas."[24][25] Pinter approved of the "urban and exacting idea of cricket as a bold theatre of aggression."[26] After his death, several of his school contemporaries recalled his achievements in sports, especially cricket and running.[27] The BBC Radio 4 memorial tribute included an essay on Pinter and cricket.[28]
Other interests that Pinter mentioned to interviewers are family, love and sex, drinking, writing, and reading.[29] According to Billington, "If the notion of male loyalty, competitive rivalry and fear of betrayal forms a constant thread in Pinter's work from The Dwarfs onwards, its origins can be found in his teenage Hackney years. Pinter adores women, enjoys flirting with them, and worships their resilience and strength. But, in his early work especially, they are often seen as disruptive influences on some pure and Platonic ideal of male friendship: one of the most crucial of all Pinter's lost Edens."[6][30]
Early theatrical training and stage experience
Beginning in late 1948, Pinter attended the
From 1951 to 1952, he toured Ireland with the Anew McMaster repertory company, playing over a dozen roles.[35] In 1952, he began acting in regional English repertory productions; from 1953 to 1954, he worked for the Donald Wolfit Company, at the King's Theatre, Hammersmith, performing eight roles.[36][37] From 1954 until 1959, Pinter acted under the stage name David Baron.[38][39] In all, Pinter played over 20 roles under that name.[39][40] To supplement his income from acting, Pinter worked as a waiter, a postman, a bouncer, and a snow-clearer, meanwhile, according to Mark Batty, "harbouring ambitions as a poet and writer."[41] In October 1989 Pinter recalled: "I was in English rep as an actor for about 12 years. My favourite roles were undoubtedly the sinister ones. They're something to get your teeth into."[42] During that period, he also performed occasional roles in his own and others' works for radio, TV, and film, as he continued to do throughout his career.[39][43]
Marriages and family life
From 1956 until 1980, Pinter was married to Vivien Merchant, an actress whom he met on tour,[44] perhaps best known for her performance in the 1966 film Alfie. Their son Daniel was born in 1958.[45] Through the early 1970s, Merchant appeared in many of Pinter's works, including The Homecoming on stage (1965) and screen (1973), but the marriage was turbulent.[46] For seven years, from 1962 to 1969, Pinter was engaged in a clandestine affair with BBC-TV presenter and journalist Joan Bakewell, which inspired his 1978 play Betrayal,[47] and also throughout that period and beyond he had an affair with an American socialite, whom he nicknamed "Cleopatra". This relationship was another secret he kept from both his wife and Bakewell.[48] Initially, Betrayal was thought to be a response to his later affair with historian Antonia Fraser, the wife of Hugh Fraser, and Pinter's "marital crack-up".[49]
Pinter and Merchant had both met Antonia Fraser in 1969, when all three worked together on a
In mid-August 1977, after Pinter and Fraser had spent two years living in borrowed and rented quarters, they moved into her former family home in
A reclusive gifted musician and writer, Daniel changed his surname from Pinter to Brand, the maiden name of his maternal grandmother,[63] before Pinter and Fraser became romantically involved; while according to Fraser, his father could not understand it, she says that she could: "Pinter is such a distinctive name that he must have got tired of being asked, 'Any relation?'"[64] Michael Billington wrote that Pinter saw Daniel's name change as "a largely pragmatic move on Daniel's part designed to keep the press ... at bay."[65] Fraser told Billington that Daniel "was very nice to me at a time when it would have been only too easy for him to have turned on me ... simply because he had been the sole focus of his father's love and now manifestly wasn't."[65] Still unreconciled at the time of his father's death, Daniel Brand did not attend Pinter's funeral.[66]
Billington observes that "The break-up with Vivien and the new life with Antonia was to have a profound effect on Pinter's personality and his work," though he adds that Fraser herself did not claim to have influence over Pinter or his writing.[63] In her own contemporaneous diary entry dated 15 January 1993, Fraser described herself more as Pinter's literary midwife.[67] Indeed, she told Billington that "other people [such as Peggy Ashcroft, among others] had a shaping influence on [Pinter's] politics" and attributed changes in his writing and political views to a change from "an unhappy, complicated personal life ... to a happy, uncomplicated personal life", so that "a side of Harold which had always been there was somehow released. I think you can see that in his work after No Man's Land [1975], which was a very bleak play."[63]
Pinter was content in his second marriage and enjoyed family life with his six adult stepchildren and 17 step-grandchildren.[68] Even after battling cancer for several years, he considered himself "a very lucky man in every respect".[69] Sarah Lyall notes in her 2007 interview with Pinter in The New York Times that his "latest work, a slim pamphlet called 'Six Poems for A.', comprises poems written over 32 years, with "A" of course being Lady Antonia. The first of the poems was written in Paris, where she and Mr. Pinter traveled soon after they met. More than three decades later the two are rarely apart, and Mr. Pinter turns soft, even cozy, when he talks about his wife."[24] In that interview Pinter "acknowledged that his plays—full of infidelity, cruelty, inhumanity, the lot—seem at odds with his domestic contentment. 'How can you write a happy play?' he said. 'Drama is about conflict and degrees of perturbation, disarray. I've never been able to write a happy play, but I've been able to enjoy a happy life.'"[24] After his death, Fraser told The Guardian: "He was a great man, and it was a privilege to live with him for over 33 years. He will never be forgotten."[70][71]
Civic activities and political activism
In 1948–49, when he was 18, Pinter opposed the politics of the Cold War, leading to his decision to become a conscientious objector and to refuse to comply with National Service in the British military. However, he told interviewers that, if he had been old enough at the time, he would have fought against the Nazis in World War II.[72] He seemed to express ambivalence, both indifference and hostility, towards political structures and politicians in his Fall 1966 Paris Review interview conducted by Lawrence M. Bensky.[73] Yet, he had been an early member of the Campaign for Nuclear Disarmament and also had supported the British Anti-Apartheid Movement (1959–1994), participating in British artists' refusal to permit professional productions of their work in South Africa in 1963 and in subsequent related campaigns.[74][75][76] In "A Play and Its Politics", a 1985 interview with Nicholas Hern, Pinter described his earlier plays retrospectively from the perspective of the politics of power and the dynamics of oppression.[77]
In his last 25 years, Pinter increasingly focused his essays, interviews and public appearances directly on political issues. He was an officer in
Pinter strongly opposed the 1991
Pinter earned a reputation for being pugnacious, enigmatic, taciturn, terse, prickly, explosive and forbidding.[86] Pinter's blunt political statements, and the award of the Nobel Prize in Literature, elicited strong criticism and even, at times, provoked ridicule and personal attacks.[87] The historian Geoffrey Alderman, author of the official history of Hackney Downs School, expressed his own "Jewish View" of Harold Pinter: "Whatever his merit as a writer, actor and director, on an ethical plane Harold Pinter seems to me to have been intensely flawed, and his moral compass deeply fractured."[88] David Edgar, writing in The Guardian, defended Pinter against what he termed Pinter's "being berated by the belligerati" like Johann Hari, who felt that he did not "deserve" to win the Nobel Prize.[89][90] Later Pinter continued to campaign against the Iraq War and on behalf of other political causes that he supported.
Pinter signed the mission statement of Jews for Justice for Palestinians in 2005 and its full-page advertisement, "What Is Israel Doing? A Call by Jews in Britain", published in The Times on 6 July 2006,[88] and he was a patron of the Palestine Festival of Literature. In April 2008, Pinter signed the statement "We're not celebrating Israel's anniversary". The statement noted: "We cannot celebrate the birthday of a state founded on terrorism, massacres and the dispossession of another people from their land.", "We will celebrate when Arab and Jew live as equals in a peaceful Middle East"[91]
Career
As actor
Pinter's acting career spanned over 50 years and, although he often played villains, included a wide range of roles on stage and in radio, film, and television.[36][92] In addition to roles in radio and television adaptations of his own plays and dramatic sketches, early in his screenwriting career he made several cameo appearances in films based on his own screenplays; for example, as a society man in The Servant (1963) and as Mr. Bell in Accident (1967), both directed by Joseph Losey; and as a bookshop customer in his later film Turtle Diary (1985), starring Michael Gambon, Glenda Jackson, and Ben Kingsley.[36]
Pinter's notable film and television roles included the lawyer Saul Abrahams opposite
As director
Pinter began to direct more frequently during the 1970s, becoming an associate director of the
As playwright
Pinter was the author of 29 plays and 15 dramatic sketches and the co-author of two works for stage and radio.[97] He was considered to have been one of the most influential modern British dramatists,[98][99] Along with the 1967 Tony Award for Best Play for The Homecoming and several other American awards and award nominations, he and his plays received many awards in the UK and elsewhere throughout the world.[100] His style has entered the English language as an adjective, "Pinteresque", although Pinter himself disliked the term and found it meaningless.[101]
"Comedies of menace" (1957–1968)
Pinter's first play,
Written in 1957 and produced in 1958, Pinter's second play, The Birthday Party, one of his best-known works, was initially both a commercial and critical disaster, despite an enthusiastic review in The Sunday Times by its influential drama critic Harold Hobson,[104] which appeared only after the production had closed and could not be reprieved.[103][105] Critical accounts often quote Hobson:
I am well aware that Mr Pinter[']s play received extremely bad notices last Tuesday morning. At the moment I write these [words] it is uncertain even whether the play will still be in the bill by the time they appear, though it is probable it will soon be seen elsewhere. Deliberately, I am willing to risk whatever reputation I have as a judge of plays by saying that The Birthday Party is not a Fourth, not even a Second, but a First [as in Class Honours]; and that Pinter, on the evidence of his work, possesses the most original, disturbing and arresting talent in theatrical London ... Mr Pinter and The Birthday Party, despite their experiences last week, will be heard of again. Make a note of their names.
Pinter himself and later critics generally credited Hobson as bolstering him and perhaps even rescuing his career.[106]
In a review published in 1958, borrowing from the subtitle of The Lunatic View: A Comedy of Menace, a play by David Campton, critic Irving Wardle called Pinter's early plays "comedy of menace"—a label that people have applied repeatedly to his work.[107] Such plays begin with an apparently innocent situation that becomes both threatening and "absurd" as Pinter's characters behave in ways often perceived as inexplicable by his audiences and one another. Pinter acknowledges the influence of Samuel Beckett, particularly on his early work; they became friends, sending each other drafts of their works in progress for comments.[101][108]
Pinter wrote
By the time Peter Hall's London production of The Homecoming (1964) reached
Working as both a screenwriter and as a playwright, Pinter composed a script called
"Memory plays" (1968–1982)
From the late 1960s through the early 1980s, Pinter wrote a series of plays and sketches that explore complex ambiguities, elegiac mysteries, comic vagaries, and other "quicksand-like" characteristics of
Overtly political plays and sketches (1980–2000)
Following a three-year period of creative drought in the early 1980s after his marriage to Antonia Fraser and the death of Vivien Merchant,[118] Pinter's plays tended to become shorter and more overtly political, serving as critiques of oppression, torture, and other abuses of human rights,[119] linked by the apparent "invulnerability of power."[120] Just before this hiatus, in 1979, Pinter re-discovered his manuscript of The Hothouse, which he had written in 1958 but had set aside; he revised it and then directed its first production himself at Hampstead Theatre in London, in 1980.[121] Like his plays of the 1980s, The Hothouse concerns authoritarianism and the abuses of power politics, but it is also a comedy, like his earlier comedies of menace. Pinter played the major role of Roote in a 1995 revival at the Minerva Theatre, Chichester.[122]
Pinter's brief dramatic sketch Precisely (1983) is a duologue between two bureaucrats exploring the absurd power politics of mutual nuclear annihilation and
Intertwining political and personal concerns, his next full-length plays, Moonlight (1993) and Ashes to Ashes (1996) are set in domestic households and focus on dying and death; in their personal conversations in Ashes to Ashes, Devlin and Rebecca allude to unspecified atrocities relating to the Holocaust.[127] After experiencing the deaths of first his mother (1992) and then his father (1997), again merging the personal and the political, Pinter wrote the poems "Death" (1997) and "The Disappeared" (1998).
Pinter's last stage play,
My grandfather introduced me to the mystery of life and I'm still in the middle of it. I can't find the door to get out. My grandfather got out of it. He got right out of it. He left it behind him and he didn't look back. He got that absolutely right. And I'd like to make one further interjection.
He stands still. Slow fade.[134]
During 2000–2001, there were also simultaneous productions of
Like Celebration, Pinter's penultimate sketch, Press Conference (2002), "invokes both torture and the fragile, circumscribed existence of dissent".[135] In its première in the National Theatre's two-part production of Sketches, despite undergoing chemotherapy at the time, Pinter played the ruthless Minister willing to murder little children for the benefit of "The State".[136]
As screenwriter
Pinter composed 27 screenplays and film scripts for cinema and television, many of which were filmed, or adapted as stage plays.[137] His fame as a screenwriter began with his three screenplays written for films directed by Joseph Losey, leading to their close friendship: The Servant (1963), based on the novel by Robin Maugham; Accident (1967), adapted from the novel by Nicholas Mosley; and The Go-Between (1971), based on the novel by L. P. Hartley.[138] Films based on Pinter's adaptations of his own stage plays are: The Caretaker (1963), directed by Clive Donner; The Birthday Party (1968), directed by William Friedkin; The Homecoming (1973), directed by Peter Hall; and Betrayal (1983), directed by David Jones.
Pinter also adapted other writers' novels to screenplays, including The Pumpkin Eater (1964), based on the novel by Penelope Mortimer, directed by Jack Clayton; The Quiller Memorandum (1966), from the 1965 spy novel The Berlin Memorandum, by Elleston Trevor, directed by Michael Anderson; The Last Tycoon (1976), from the unfinished novel by F. Scott Fitzgerald, directed by Elia Kazan; The French Lieutenant's Woman (1981), from the novel by John Fowles, directed by Karel Reisz; Turtle Diary (1985), based on the novel by Russell Hoban; The Heat of the Day (1988), a television film, from the 1949 novel by Elizabeth Bowen; The Comfort of Strangers (1990), from the novel by Ian McEwan, directed by Paul Schrader; and The Trial (1993), from the novel by Franz Kafka, directed by David Jones.[139]
His commissioned screenplays of others' works for the films
Pinter's last filmed screenplay was an adaptation of the 1970
2001–2008
From 16 to 31 July 2001, a Harold Pinter Festival celebrating his work, curated by
In December 2001, Pinter was diagnosed with
From 9 to 25 January 2003, the Manitoba Theatre Centre, in Manitoba, Canada, held a nearly month-long PinterFest, in which over 130 performances of twelve of Pinter's plays were performed by a dozen different theatre companies.[153] Productions during the Festival included: The Hothouse, Night School, The Lover, The Dumb Waiter, The Homecoming, The Birthday Party, Monologue, One for the Road, The Caretaker, Ashes to Ashes, Celebration, and No Man's Land.[154]
In 2005, Pinter stated that he had stopped writing plays and that he would be devoting his efforts more to his political activism and writing poetry: "I think I've written 29 plays. I think it's enough for me ... My energies are going in different directions—over the last few years I've made a number of political speeches at various locations and ceremonies ... I'm using a lot of energy more specifically about political states of affairs, which I think are very, very worrying as things stand."[155][156] Some of this later poetry included "The 'Special Relationship'", "Laughter", and "The Watcher".
From 2005, Pinter experienced ill health, including a rare skin disease called pemphigus[157] and "a form of septicaemia that afflict[ed] his feet and made it difficult for him to walk."[158] Yet, he completed his screenplay for the film of Sleuth in 2005.[24][159] His last dramatic work for radio, Voices (2005), a collaboration with composer James Clarke, adapting selected works by Pinter to music, premièred on BBC Radio 3 on his 75th birthday on 10 October 2005.[160] Three days later, it was announced that he had won the 2005 Nobel Prize in Literature.[161]
In an interview with Pinter in 2006, conducted by critic Michael Billington as part of the cultural programme of the 2006 Winter Olympics in Turin, Italy, Pinter confirmed that he would continue to write poetry but not plays.[157] In response, the audience shouted No in unison, urging him to keep writing.[162] Along with the international symposium on Pinter: Passion, Poetry, Politics, curated by Billington, the 2006 Europe Theatre Prize theatrical events celebrating Pinter included new productions (in French) of Precisely (1983), One for the Road (1984), Mountain Language (1988), The New World Order (1991), Party Time (1991), and Press Conference (2002) (French versions by Jean Pavans); and Pinter Plays, Poetry & Prose, an evening of dramatic readings, directed by Alan Stanford, of the Gate Theatre, Dublin.[163] In June 2006, the British Academy of Film and Television Arts (BAFTA) hosted a celebration of Pinter's films curated by his friend, the playwright David Hare. Hare introduced the selection of film clips by saying: "To jump back into the world of Pinter's movies ... is to remind yourself of a literate mainstream cinema, focused as much as Bergman's is on the human face, in which tension is maintained by a carefully crafted mix of image and dialogue."[164]
After returning to London from the Edinburgh International Book Festival, in September 2006, Pinter began rehearsing for his performance of the role of Krapp in Samuel Beckett's one-act monologue Krapp's Last Tape, which he performed from a motorised wheelchair in a limited run the following month at the Royal Court Theatre to sold-out audiences and "ecstatic" critical reviews.[165] The production ran for only nine performances, as part of the 50th-anniversary celebration season of the Royal Court Theatre; it sold out within minutes of the opening of the box office and tickets commanded large sums from ticket resellers.[166] One performance was filmed and broadcast on BBC Four on 21 June 2007, and also screened later, as part of the memorial PEN Tribute to Pinter, in New York, on 2 May 2009.[167]
In October and November 2006, Sheffield Theatres hosted Pinter: A Celebration. It featured productions of seven of Pinter's plays: The Caretaker, Voices, No Man's Land, Family Voices, Tea Party, The Room, One for the Road, and The Dumb Waiter; and films (most his screenplays; some in which Pinter appears as an actor).[168]
In February and March 2007, a 50th anniversary of The Dumb Waiter, was produced at the
Revivals in 2008 included the 40th-anniversary production of the American première of The Homecoming on Broadway, directed by
On 26 December 2008, when No Man's Land reopened at the Duke of York's, the actors paid tribute to Pinter from the stage, with Michael Gambon reading Hirst's monologue about his "photograph album" from Act Two that Pinter had asked him to read at his funeral, ending with a standing ovation from the audience, many of whom were in tears:
I might even show you my photograph album. You might even see a face in it which might remind you of your own, of what you once were. You might see faces of others, in shadow, or cheeks of others, turning, or jaws, or backs of necks, or eyes, dark under hats, which might remind you of others, whom once you knew, whom you thought long dead, but from whom you will still receive a sidelong glance if you can face the good ghost. Allow the love of the good ghost. They possess all that emotion ... trapped. Bow to it. It will assuredly never release them, but who knows ... what relief ... it may give them ... who knows how they may quicken ... in their chains, in their glass jars. You think it cruel ... to quicken them, when they are fixed, imprisoned? No ... no. Deeply, deeply, they wish to respond to your touch, to your look, and when you smile, their joy ... is unbounded. And so I say to you, tender the dead, as you would yourself be tendered, now, in what you would describe as your life.[172][173][174]
Posthumous events
Funeral
Pinter's funeral was a private, half-hour secular ceremony conducted at the graveside at
Memorial tributes
The night before Pinter's burial, theatre marquees on Broadway dimmed their lights for a minute in tribute,[175] and on the final night of No Man's Land at the Duke of York's Theatre on 3 January 2009, all of the Ambassador Theatre Group in the West End dimmed their lights for an hour to honour the playwright.[176]
On 16 June 2009, Antonia Fraser officially opened a commemorative room at the Hackney Empire. The theatre also established a writer's residency in Pinter's name.[181] Most of issue number 28 of Craig Raine's Arts Tri-Quarterly Areté was devoted to pieces remembering Pinter, beginning with Pinter's 1987 unpublished love poem dedicated "To Antonia" and his poem "Paris", written in 1975 (the year in which he and Fraser began living together), followed by brief memoirs by some of Pinter's associates and friends, including Patrick Marber, Nina Raine, Tom Stoppard, Peter Nichols, Susanna Gross, Richard Eyre, and David Hare.[182]
A memorial cricket match at
In 2009,
Being Harold Pinter
In January 2011 Being Harold Pinter, a theatrical collage of excerpts from Pinter's dramatic works, his Nobel Lecture, and letters of Belarusian prisoners, created and performed by the
The Harold Pinter Theatre, London
In September 2011, British Theatre owners, Ambassador Theatre Group (ATG) announced it was renaming its Comedy Theatre, Panton Street, London to become The Harold Pinter Theatre. Howard Panter, Joint CEO and Creative Director of ATG told the BBC, "The work of Pinter has become an integral part of the history of the Comedy Theatre. The re-naming of one of our most successful West End theatres is a fitting tribute to a man who made such a mark on British theatre who, over his 50 year career, became recognised as one of the most influential modern British dramatists."[187]
Honours
An Honorary Associate of the
In October 2008, the
In 2013, he was posthumously awarded the Sretenje Order of Serbia.[200][201]
Nobel Prize in Literature
Légion d'honneur
On 18 January 2007, French Prime Minister
Scholarly response
Some scholars and critics challenge the validity of Pinter's critiques of what he terms "the modes of thinking of those in power"[204] or dissent from his retrospective viewpoints on his own work.[205] In 1985, Pinter recalled that his early act of conscientious objection resulted from being "terribly disturbed as a young man by the Cold War. And McCarthyism ... A profound hypocrisy. 'They' the monsters, 'we' the good. In 1948, the Russian suppression of Eastern Europe was an obvious and brutal fact, but I felt very strongly then and feel as strongly now that we have an obligation to subject our own actions and attitudes to an equivalent critical and moral scrutiny."[206] Scholars agree that Pinter's dramatic rendering of power relations results from this scrutiny.[207]
Pinter's aversion to any censorship by "the authorities" is epitomised in Petey's line at the end of The Birthday Party. As the broken-down and reconstituted Stanley is being carted off by the figures of authority Goldberg and McCann, Petey calls after him, "Stan, don't let them tell you what to do!" Pinter told Gussow in 1988, "I've lived that line all my damn life. Never more than now."[208] The example of Pinter's stalwart opposition to what he termed "the modes of thinking of those in power"—the "brick wall" of the "minds" perpetuating the "status quo"[209]—infused the "vast political pessimism" that some academic critics may perceive in his artistic work,[210] its "drowning landscape" of harsh contemporary realities, with some residual "hope for restoring the dignity of man."[211]
As Pinter's long-time friend David Jones reminded analytically inclined scholars and dramatic critics, Pinter was one of the "great comic writers":[212]
The trap with Harold's work, for performers and audiences, is to approach it too earnestly or portentously. I have always tried to interpret his plays with as much humour and humanity as possible. There is always mischief lurking in the darkest corners. The world of The Caretaker is a bleak one, its characters damaged and lonely. But they are all going to survive. And in their dance to that end they show a frenetic vitality and a wry sense of the ridiculous that balance heartache and laughter. Funny, but not too funny. As Pinter wrote, back in 1960: "As far as I am concerned The Caretaker IS funny, up to a point. Beyond that point, it ceases to be funny, and it is because of that point that I wrote it."[213]
His dramatic conflicts present serious implications for his characters and his audiences, leading to sustained inquiry about "the point" of his work and multiple "critical strategies" for developing interpretations and stylistic analyses of it.[214]
Pinter research collections
Pinter's unpublished manuscripts and letters to and from him are held in the Harold Pinter Archive in the Modern Literary Manuscripts division of the
List of works and bibliography
See also
- Independent Jewish Voices
- International PEN
- PEN Pinter Prize
- Jewish left
- List of Jewish Nobel laureates
References
- ^ "Michael Caine". Front Row Interviews. 26 December 2008. BBC Radio 4. Retrieved 18 January 2014.
- ^ Harold Pinter, as quoted in Gussow, Conversations with Pinter 103.
- ^ Pinter, Harold. "Harold Pinter: An Inventory of His Collection at the Harry Ransom Humanities Research Center". legacy.lib.utexas.edu. Retrieved 27 April 2021.
- ^ a b Billington, Harold Pinter 1–5.
- ^ For some accounts of the significance of Pinter's Jewish background, see Billington, Harold Pinter 2, 40–41, 53–54, 79–81, 163–64, 177, 286, 390, 429.
- ^ OCLC 185201487. Archived from the originalon 3 July 2011. Retrieved 26 June 2011.
- ^ a b Billington, Harold Pinter 2.
- ^ Billington, Harold Pinter 5–10.
- ^ Billington, Harold Pinter 11.
- ^ A collection of Pinter's correspondence with Brearley is held in the Harold Pinter Archive in the British Library. Pinter's memorial epistolary poem "Joseph Brearley 1909–1977 (Teacher of English)", published in his collection Various Voices (177), ends with the following stanza: "You're gone. I'm at your side,/Walking with you from Clapton Pond to Finsbury Park,/And on, and on."
- ^ Billington, Harold Pinter 10–11.
- ^ See also "Introduction by Harold Pinter, Nobel Laureate", 7–9 in Watkins, ed., 'Fortune's Fool': The Man Who Taught Harold Pinter: A Life of Joe Brearley.
- ^ Billington, Harold Pinter 13–14.
- ^ Baker and Ross 127.
- ^ Harry Ransom Humanities Research Center. University of Texas at Austin. Archived from the originalon 4 June 2011. Retrieved 26 June 2011.
- ^ Billington, Harold Pinter 29–35.
- ^ "The Meeting is a about the afterlife, despite Pinter being well known as an atheist. He admitted it was a "strange" piece for him to have written." Pinter 'on road to recovery', BBC.co.uk, 26 August 2002.
- ^ Gussow, Conversations with Pinter 28–29.
- ^ Baker, "Growing Up", chap. 1 of Harold Pinter 2–23.
- ^ Billington, Harold Pinter 7–9 and 410.
- ^ Gussow, Conversations with Pinter 25.
- ^ Gussow, Conversations with Pinter 8.
- ^ Batty, Mark (ed.). "Cricket". haroldpinter.org. Archived from the original on 13 June 2011. Retrieved 5 December 2010.
- ^ ISSN 0362-4331. Archived from the originalon 4 January 2012. Retrieved 26 June 2011.
- ISSN 0140-0460. Archived from the originalon 16 June 2011. Retrieved 26 June 2011.
- ^ Billington, Harold Pinter 410.
- ^ Supple, T. Baker, and Watkins, in Watkins, ed.
- ^ Burton, Harry (2009). "Latest News & Charity Fundraising News from The Lord's Taverners". Lord's Taverners. Archived from the original on 27 June 2009. Retrieved 26 June 2011.
- ^ See, e.g., Gussow, Conversations with Pinter 25–30; Billington, Harold Pinter 7–16; and Merritt, Pinter in Play 194.
- ^ Billington, Harold Pinter 10–12.
- ^ Billington, Harold Pinter 20–25, 31–35; and Batty, About Pinter 7.
- ^ Billington, Harold Pinter 20–25.
- ^ Billington, Harold Pinter 37; and Batty, About Pinter 8.
- ^ Billington, Harold Pinter 31, 36, and 38; and Batty, About Pinter xiii and 8.
- ^ Pinter, "Mac", Various Voices 36–43.
- ^ a b c d e Batty, Mark (ed.). "Acting". haroldpinter.org. Archived from the original on 9 July 2011. Retrieved 29 January 2011.
- ^ Billington, Harold Pinter 20–25, 31, 36, and 37–41.
- ^ Billington, Harold Pinter 3 and 47–48. Pinter's paternal grandmother's maiden name was Baron. He also used the name for an autobiographical character in the first draft of his novel The Dwarfs.
- ^ a b c Batty, Mark (ed.). "The Harold Pinter Acting Career". haroldprinter.org. Archived from the original on 3 July 2011. Retrieved 30 January 2011., Batty, Mark (ed.). "Work in Various Repertory Companies 1954–1958". haroldprinter.org. Archived from the original on 3 July 2011. Retrieved 30 January 2011.
- ^ Billington, Harold Pinter 49–55.
- ^ Batty, About Pinter 10.
- ^ Gussow, Conversations with Pinter 83.
- ^ Billington, Harold Pinter 20–25, 31, 36, 38.
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- ^ a b Billington, Harold Pinter 257.
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- ^ a b Billington 254–55; cf. 345.
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- ^ See Billington, Harold Pinter 388, 429–30.
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- ^ Cf., e.g., Batty, "Preface" (xvii–xix) and chap. 6–9 (55–221) in About Pinter; Grimes 19, 36–71, 218–20, and passim.
- ^ Quoted in Merritt, Pinter in Play 179.
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Works cited
- Baker, William (2008). Harold Pinter. Writers' Lives Series. London and New York: ISBN 978-0-8264-9970-7.
- Baker, William; Ross, John C. (2005). Harold Pinter: A Bibliographical History. London: ISBN 1-58456-156-4.
- Batty, Mark (2005). About Pinter: The Playwright and the Work. London: ISBN 0-571-22005-3.
- Begley, Varun (2005). Harold Pinter and the Twilight of Modernism. Toronto: University of Toronto Press. ISBN 978-0-8020-3887-6.
- ISBN 978-0-571-19065-2.
- ISBN 978-0-297-85971-0.
- Gale, Steven H. (2003). Sharp Cut: Harold Pinter's Screenplays and the Artistic Process. Lexington: University Press of Kentucky. ISBN 0-8131-2244-9.
- Gordon, Lois, ed. (2001). Pinter at 70: A Casebook. Casebooks on Modern Dramatists (2 ed.). New York and London: Routledge. ISBN 978-0-415-93630-9.
- Grimes, Charles (2005). Harold Pinter's Politics: A Silence Beyond Echo. Madison & Teaneck, NJ: Fairleigh Dickinson University Press. ISBN 0-8386-4050-8.
- ISBN 978-1-85459-201-9.
- Hern, Nicholas; Pinter, Harold (February 1985). A Play and Its Politics: A Conversation between Harold Pinter and Nicholas Hern. Harold Pinter, 'One for the Road'. New York: Grove. pp. 5–23. ISBN 0-394-62363-0.
- Hudgins, Christopher C. (2008). Gillen, Francis; Gale, Steven H. (eds.). "Three Unpublished Harold Pinter Filmscripts". The Pinter Review: Nobel Prize/Europe Theatre Prize Volume: 2005–2008. Tampa: University of Tampa Press: 132–39. OCLC 16878624.
- Karwowski, Michael (1 November 2003). "Harold Pinter––a Political Playwright?]". OCLC 1564974. Archived from the originalon 12 January 2009.
- Merritt, Susan Hollis (1995). Pinter in Play: Critical Strategies and the Plays of Harold Pinter. Durham and London: Duke University Press. ISBN 978-0-8223-1674-9.
- Merritt, Susan Hollis (2000). Gillen, Francis; Gale, Steven H. (eds.). "Harold Pinter's 'Ashes to Ashes': Political/Personal Echoes of the Holocaust". The Pinter Review: Collected Essays 1999 and 2000. Tampa: University of Tampa Press: 73–84. OCLC 16878624.
- Merritt, Susan Hollis (2002). Gillen, Francis; Gale, Steven H. (eds.). "Talking about Pinter: Collected Essays 2001 and 2002". The Pinter Review: Collected Essays: 2003 and 2004. Tampa: University of Tampa Press: 144–467. OCLC 16878624.
- Merritt, Susan Hollis (2004). Gillen, Francis; Gale, Steven H. (eds.). "Staging Pinter: From Pregnant Pauses to Political Cause". The Pinter Review: Collected Essays: 2003 and 2004. Tampa: University of Tampa Press: 123–43. OCLC 16878624.
- Münder, Peter (2008). Gillen, Francis; Gale, Steven H. (eds.). "Endgame with Spools: Harold Pinter in 'Krapp's Last Tape'". The Pinter Review: Nobel Prize/Europe Theatre Prize Volume: 2005– 008. Tampa: University of Tampa Press: 220–22. OCLC 16878624.
- Pinter, Harold (2000). 'Celebration' and 'The Room': Two Plays by Harold Pinter. London: ISBN 978-0-571-20497-7.
- Pinter, Harold (2005). Art, Truth and Politics: The Nobel Lecture. London: ISBN 978-0-571-23396-0.
- Pinter, Harold (2008). "Introduction by Harold Pinter, Nobel Laureate". In Watkins, G. L. (ed.). Fortune's Fool: The Man Who Taught Harold Pinter: A Life of Joe Brearley. Aylesbury, Buckinghamshire, UK: TwigBooks in association with The Clove Club. pp. 7–9. ISBN 978-0-9547236-8-2.
- Pinter, Harold (2009). Various Voices: Sixty Years of Prose, Poetry, Politics 1948–2008 (3 ed.). London: ISBN 978-0-571-24480-5.
- Quigley, Austin E. (2001). "Pinter, Politics and Postmodernmism (I)". In Raby, Peter (ed.). The Cambridge Companion to Harold Pinter. Cambridge: Cambridge University Press. pp. 7–27. ISBN 978-0-521-65842-3.
- Watkins, G. L., ed. (March 2009). The Clove's Lines: The Newsletter of the Clove Club: The Old Boys of Hackney Downs School. 3 (2): 1–36.
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Further reading
Editions
- Pinter, Harold. Plays: One | ISBN 0-413-34650-1Contains an introductory essay, Writing for the Theatre.
- Pinter, Harold. Plays: Two | ISBN 0-413-37300-2Contains an introductory essay, Writing for Myself.
- Pinter, Harold. Plays: Three | ISBN 0-413-38480-2
Works of criticism
- Naismith, Bill (ed.) Harold Pinter: Faber Critical Guide: ISBN 978-0-571-19781-1Contains introductory essays and explanatory notes.
External links
- Official website
- Works by Harold Pinter at Open Library
- Harold Pinter at IMDb
- Harold Pinter at the Internet Broadway Database
- International Harold Pinter Society (Allied Organization of the Modern Language Association, co-publisher of The Pinter Review)
- "Harold Pinter" at Granta (collection of useful links)
- "Harold Pinter" at guardian.co.uk("The best of The Guardian's coverage, including tributes, reviews and articles from the archive," periodically updated)
- "Harold Pinter" in "Times Topics" at nytimes.com (periodically updated collection of news articles, reviews, commentaries, photographs, and Web resources from The New York Times )
- "Harold Pinter" on The Mark Shenton Show, TheatreVoice, recorded on 21 February 2007 (critics Michael Billington and Alastair Macaulay review Pinter's People and The Dumb Waiter; director and actor Harry Burton talks about his experiences with Pinter)
- "Reputations: Harold Pinter" on TheatreVoice, recorded on 14 October 2005 (critical assessments by Michael Billington, Dan Rebellato, Charles Spencer and Ian Smith)
- Working with Pinter, 2007 film by Harry Burton
- "Harold Pinter – Interview", British Library Online Gallery: What's On, British Library, 8 September 2008 (Pinter discusses his memories of postwar British theatre with Harry Burton)
- Harold Pinter, Nobel Luminaries – Jewish Nobel Prize Winners, on the Beit Hatfutsot-The Museum of the Jewish People Website.
- Harold Pinter on Nobelprize.org
- List of Works