Greetings, Harold Pinter is the renewer of English drama in the 20th century. “Pinteresque” is an adjective listed in the Oxford Dictionary. Like Kafka, Proust and Graham Greene he has charted a territory, a Pinterland with a distinct topography. With his twenty-nine plays and about a hundred that he has directed or acted in, he has made the theatre his own domain. His figures barricade themselves in unpredictable dialogues. Between the lines of unresolved threats, it roils and stings. What we hear are signals for everything we do not hear. The abyss under chat, the unwillingness to communicate other than superficially, the need to rule and mislead, the suffocating sensation of accidents bubbling under the quotidian, the nervous perception that a dangerous story has been censored – all this vibrates through Pinter’s drama. His characters are at the mercy of each other on the periphery of life. They are also prisoners in the limbo of class divisions, set phrases and solidified habits. Their identities, backgrounds and histories are
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