Harold Pinter: The Master of Absurd Play

Hareshwar Roy,
Harold Pinter: The Master of Absurd Play

Harold Pinter is a Nobel laureate. He stands as a colossus in 20th-century British drama. He has played a pivotal role in the ‘Theatre of the Absurd’. ‘The Theatre of the Absurd’ is a movement that challenged traditional notions of plot, character and dialogue. Pinter's plays are not simply absurd but they are often chilling. They create a unique atmosphere of menace, ambiguity and unspoken threats. His compositions force us to confront the uncomfortable truths lying beneath the surface of everyday interactions. His influence can be underlined even in India's vibrant theatre scene.

A Glimpse of Pinter’s Life:

Harold Pinter was born in 1930 in Hackney, London. He was born in a Jewish family. His early experiences with anti-Semitism during World War II deeply influenced his perception of the world. He felt that this world is not a safe place to live in but it is a very dangerous place. He began his career as an actor under the stage name David Baron before turning to playwriting. Pinter was also a passionate political activist. He often used his platform to speak out against injustice and oppression. Throughout his life he showed his commitment to human rights. He passed away in 2008, leaving behind an extraordinary body of work.

Pinter’s Plays and Major Themes:

Pinter's popular plays are The Room (1957), The Birthday Party (1958), The Caretaker (1960), The Homecoming (1964) and Betrayal (1978). Menace and fear, power and dominance, identity and memory, communication and miscommunication, territory and belonging etc. are the major themes in these plays. The Room introduces a sense of impending threat. The Birthday Party features a man living in a boarding house who is visited by two menacing strangers on his birthday. The Caretaker explores themes of power, identity and the struggle for dominance between two brothers. The Homecoming delves into family dynamics, sexual politics and the assertion of power within a dysfunctional household. Betrayal intimately examines an extramarital affair.

Pinter’s Art of Characterization:

Pinter's characters are often enigmatic. They are often defined by their interactions with others rather than by explicit exposition. Their identities can be fluid and contested. They often challenge each other's memories or perceived realities. Pinter masterfully uses dialogue and silence to reveal the complexities and hidden depths of his characters. He attempts to show how they manipulate, intimidate and protect themselves. One character often tries to dominate another, leading to a constant power struggle that defines their relationship.

Pinter’s Art of Plot Making:

Pinter's plots are famously non-linear and ambiguous. Unlike traditional plays his works often lack a clear resolution. They feature mysterious arrivals that disrupt stable situation. They create tension through suggestion and implication rather than explicit action. Pinter’s plots leave audiences with unanswered questions. They force them to grapple with the uncertainty and draw their own conclusions. His plots often emerge from the subtext of the dialogue and the shifting power dynamics between characters.

Pinter’s Style of Writing:

Pinter's style is characterized by a language often fragmented. It is repetitive. It is filled with non sequiturs. His dialogues are called 'Pinteresque Dialogue'. In his plays unspoken thoughts, emotions or threats hang in the air, creating immense tension and meaning. These are known as ‘Pinter Pauses'. Much of the true meaning in Pinter's plays lies beneath the surface of the dialogue. Pinter deliberately avoids clear explanations. It makes his plays endlessly fascinating and challenging. He takes ordinary conversations and infuses them with a chilling undercurrent of threat.

Conclusion:

Harold Pinter, no doubt, is a great playwright. He revolutionized the field of drama. He redefined what theatre could be. He rejected conventional theatrical customs. He forced audiences to confront the unsettling realities of power, communication, and human vulnerability. His exploration of menace, his brilliant use of silence and his ambiguous narratives continue to influence playwrights.
Location: B-37, City Homes Colony, Jawahar Nagar Satna, Madhya Pradesh, India
Currently Dr. Roy is working as Professor of English at Govt. P.G. College Satna, Madhya Pradesh. He is the author of the following books: (1) Diasporic Articulation in the Novels of M.G. Vassanji (2) A Study of M.G. Vassanji 's Novels (3) Varieties of Indianity in the Works of M.G. Vassanji & Rohinton Mistry (4)Diaspora & Indian Diaspora: A Brief Study (5) Short Notes of English Literature - I (6) Short Notes of English Literature - II (7) हमार पहचान ह भोजपुरी - भोजपुरी कविता संकलन (8) हमरा प्यार हो गइल - भोजपुरी गज़ल संकलन (9) भोजपुरी कविताएँ

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