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This important book offers a thematic collection of critical
essays, ideal for undergraduate courses on modern British theatre,
on Harold Pinter’s theatrical works, alongside new interviews
with contemporary theatre practitioners. The life and works of
Harold Pinter (1930–2008), a pivotal figure in British theatre,
have been widely discussed, debated and celebrated internationally.
For over five decades, Pinter’s work traversed and redefined
various forms and genres, constantly in dialogue with, and often
impacting the work of, other writers, artists and activists.
Combining a reconsideration of key Pinter scholarship with new
contexts, voices and theoretical approaches, this book opens up
fresh insights into the author’s work, politics, collaborations
and his enduring status as one of the world’s foremost
dramatists. Three sections re-contextualize Pinter as a cultural
figure; explore and interrogate his influence on contemporary
British playwriting; and offer a series of original interviews with
theatre-makers engaging in the staging of Pinter’s work today.
Reconsiderations of Pinter’s relationship to literary and
theatrical movements such as Modernism and the Theatre of the
Absurd; interrogations of the role of class, elitism and religious
and cultural identity sit alongside chapters on Pinter’s personal
politics, specifically in relation to the Middle East.
This volume is the first to provide a book-length study of Pinter's
overtly political activity. With chapters on political drama,
poetry, and speeches, it charts a consistent tension between
aesthetics and politics through Pinter's later career and defines
the politics of the work in terms of a pronounced sensory dimension
and capacity to affect audiences. The book brings to light
unpublished letters and drafts from the Pinter Archive in the
British Library and draws his political poems and speeches, which
have previously been overshadowed by his plays, into the
foreground. Intended for students, instructors, and researchers in
drama and theatre, performance studies, literature, and media
studies, this book celebrates Pinter's later life and work by
discerning a coherent political voice and project and by
registering the complex ways that project troubles the divide
between aesthetics and politics.
This important book offers a thematic collection of critical
essays, ideal for undergraduate courses on modern British theatre,
on Harold Pinter’s theatrical works, alongside new interviews
with contemporary theatre practitioners. The life and works of
Harold Pinter (1930–2008), a pivotal figure in twentieth- and
twenty-first century British theatre, have been widely discussed,
debated and celebrated internationally. For over five decades,
Pinter’s work traversed and redefined various forms and genres,
constantly in dialogue with, and often impacting the work of, other
writers, artists and activists. He is today considered one of the
most important British playwrights ever to have lived. Through
combining a reconsideration of key Pinter scholarship with new
contexts, voices and theoretical approaches, it opens up fresh
insights into the author’s work, politics, collaborations and his
enduring status as one of the world’s foremost twentieth-century
dramatists. Divided into three parts, the book is compiled of a
collection of chapters that re-contextualize Pinter as a cultural
figure; explore and interrogate his influence on contemporary
British playwriting; and offer a series of original interviews with
theatre-makers engaging in the staging of Pinter’s work today.
Reconsiderations of Pinter’s relationship to literary and
theatrical movements such as Modernism and the Theatre of the
Absurd; interrogations of the role of class, elitism and religious
and cultural identity sit alongside chapters on Pinter’s personal
politics, specifically in relation to the Middle East.
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