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Discuss the ways in which Pages 17-19 reveals Pinter's characteristic themes and dramatic techniques in the Birthday Party

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Discuss the ways in which Pages 17-19 reveals Pinter's characteristic themes and dramatic techniques in the Birthday Party There are several themes and techniques that Pinter uses throughout his book. A few can be related to every character, some to only a few, and some to none of the characters at all. However, each character is individual, intertwined through common behaviour. Even though it is never said that Stanley has met or heard of Goldberg and McCann, each is bonded to each other due to Pinter's creative ability. Human instinct. Marvellous though it is, there are brutal aspects to it as well. The ability to establish dominance is with one foot on either side. Stanley, apparently a failed pianist manages to bring into being a relationship with one of the simplest individuals in the play, Meg. During the opening scenes he appears to be a boy from the way that Meg treats him. For her, he is her special person, and she sticks with him even though he rebukes her several times. He criticises her tea and recoils from physical contact when it is clear Meg is trying to cheer him up. The dominance is evident, though it would appear not much is needed to assert this. Meg is a simple character and her understanding of items and words appears to be limited. ...read more.


Or for that matter, how can one help stray dogs? It is unlikely that he would have any food on his person after going for a walk with a Sunday school teacher. It is also absurd that Goldberg is referred to using three different names. He appears to be Benny to his dying uncle, Simey to his wife and mother and Nat to McCann and others. In one of his speeches, he speaks of how in his day, the gentlemen never took liberties, and where very well-mannered in the presence of ladies. However, he is confronted by Lulu after what appears to have been a "one night relationship" and this is clearly taking slightly more than just liberties. Stanley's speech about his concert and round the world tour playing the piano seems unlikely, because if he truly was as successful as he said he was, then no sensible manager would let him go to waste. Meg's fantasy of having other siblings, who each had their own room all with different colours, is also absurd. Goldberg and McCann present an interesting thought to the play. Even though they appear to know each other well, they also work together and have done for what appears to be some time now, they still have issues that would appear hold true throughout the play. ...read more.


Sometimes the pause can be menacing, such as in the scene when Stanley is finally taken away. When confronted by Petey, Goldberg pauses, studies him and says "Why don't you come with us, Mr. Boles?" A sentence like this after a pause with precise stage directions presents Petey with little option but to back away. The way that the conversation is constructed during scenes like this can be themed to be awkward, menacing or friendly, due to Pinter's ability to use pauses and stage directions to great effect. It would seem that Pinter creates this play to represent some real life scenarios. A lot of people do create backgrounds and childhood fantasies to give themselves some individuality. It is most likely their insecurity that forces them to do this. People do make up stories because they feel that they need something to be admired for, have something that makes people respect them, that provides some sort of dominant feature for that person. This is what Pinter portrays in Stanley, and his past has "returned to haunt him" but not in the conventional sense. This person, who has spent over a year in a quiet, backwater, seaside town and has not caused any trouble other than allow himself to be a son to a childless women and that even the most common and unheard of person can be easily undermined, mentally broken and reduced to nothing because of unwanted past. ?? ?? ?? ?? ...read more.

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