• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

University Degree: Harold Pinter

Browse by
Word count:
fewer than 1000 (2)
1000-1999 (7)
2000-2999 (2)
3000+ (1)

Meet our team of inspirational teachers

find out about the team

Get help from 80+ teachers and hundreds of thousands of student written documents

  1. Using the attatched passage, The Birthday Party, Harold Pinter, 1960, examine the similarities and differences between the dramatic speech found here and naturally occurring conversation.

    The unconnected information Petey offers to her about 'Someone' in the newspaper presents the fact that Meg is unaware of social format of any nature. 'Oh' presented before or after a pause slows down the pace and represents a break down of conversation and for Meg, imparts a sense of bathos. Petey's voiced filler 'eh' in 'You like a song eh, Meg?' shows a deliberate attempt to be friendly towards Meg, making it apparent to the audience that Petey has an ulterior motif.

    • Word count: 2819
  2. Since its first production in 1965 by the Royal Shakespeare Company, The Homecoming has caused much controversy, and to this day still raises much debate.

    Ruth's rise to power and triumph is the main part of the play containing and addressing the feminist view point of suppression in society and the need for change. On first reading it appears that Ruth is a hapless victim in the play conforming to the traditions and rules set down by the literacy establishment and society, however when looking closely at aspects of the play it becomes apparent that she is in control and manipulating her surroundings. This dual side of Ruth's character works on two levels as does the play, the primary part of her attributes is that of a self confident and strong woman able to deal with the onslaught of the men in the family.

    • Word count: 1681
  3. Form and Structure in "The Homecoming"

    Sometimes when there are gaps in the sentences it implies that that person is lying, and in this play in particular, a lot of lies are told and the topic of them is quite ominous. "Ruth: We used to pass a.....a large white water tower. This place.....this house.....was very big.....the trees....there was a lake, you see..." Ruth may not be lying here but it shows that she is a very open person to be enclosing this information to someone she barely knows. "Joey: And then we....well, by the kerb, we saw this parked car....with a couple of girls in it."

    • Word count: 852
  4. Contextualising the play - A Night Out by Harold Pinter

    So this was a major influence in his work to do with gangsters and that lifestyle. He acted for Television drama: - * A Night Out by Harold Pinter, ABC TV Armchair Theatre, 24 April 1960 * Directed by Philip Saville (Assheton Gorton - Designer.) Seeley - David Baron [Harold Pinter] * He also acted in films, * The Servant (Joseph Losey, 1964.) Another cameo appearance for Pinter in this, his first collaboration as screenplay writer with the director Joseph Losey. He played the role of a Society Man in a brief scene. The Context of inherent of the play * The play was written in the 1950s but staged in the 1960s.

    • Word count: 1277
  5. 'The Birthday Party' by Harold Pinter is a study of power- where it comes from and how it is wielded.' Discuss with particular reference to Act One.

    He reads his newspaper and acts really disinterested towards her. An example of this is on page 10. Meg says "What does it say" and Petey simply replies "Nothing much." He makes her feel like she has to make conversation with her. This type of power is used without any effort. It is gained by silence towards the other person. You can imagine this one stage with Meg being very enthusiastic and Petey just saying short answers with a bothered tone of voice. It gives you the idea that Meg makes all the effort in this relationship. Stanley had power over Meg but only after Petey has left the room.

    • Word count: 1284
  6. Compare my devised thematic work to another play or other types of drama, which have different styles, periods, cultures, and show the relationships between the texts.

    Many people have puzzled over Pinter and have different interpretations of his plays. I am going to look at his play "The Dumb Waiter". 'The Dumb Waiter' is about two hired killers who stalk their prey, to the point of hysteria. It is set in one room, with the fourth wall removed. Which is similar to what we are considering to do, either that or split staging. The two characters are Ben and Gus. With in the play, Ben is the dominant character; he reigns over Gus in status.

    • Word count: 928
  7. Finding the Function in Dysfunction.

    Statements from her own father such as "To h**l with your temper, you overgrown cow!" leave the impression that Josie is unusual in many ways, not always positive (296). Yet despite the raucous language used, her father (Phil) loves her in ways he could never have loved his virtuous sons. For instance, Phil, quarreling with Josie over his son's theft of some money, states "To tell the truth, I never liked him. And I never liked Thomas and John, either (297)." O'Neill creates this all-too-believable dysfunctional clan and maintains their quandary throughout the script. While multiple dysfunctions develop in the play, Josie and her father remain the centerpiece of character driven interactions in A Moon for the Misbegotten.

    • Word count: 1840
  8. In what ways do the language rituals in "The Homecoming" and "Waiting for Godot" suggest the play wrights' respective perceptions of the human condition?

    In 'Waiting for Godot,' however, the characters are more enigmatic and less credible as normal people. Although the play may work when taken purely at face-value, it is far from a depiction of realistic characters. In addition the language rituals developed, the areas of communication explored are all less clearly-defined than in 'The Homecoming.' 'Waiting for Godot' is concerned with suggestions and concepts, as oppose to the presentation of these ideas through more detailed and accurate social observations shown in 'The Homecoming.' Despite the fact that these differences are immediately obvious upon observing the plays, it is essential that they are considered at all times whilst they are contrasted; for it is through these different approaches

    • Word count: 4805
  9. The Homecoming; Plot Summary

    There is some humorous banter and conversational intercourse between the two. Max dominates a lot of the talking and sometimes is in converse with himself. We are given early clues of the odd relationship that the family had with Max's dead wife. Max uses a metaphor involving horses to show his distrust of women. Uncle Sam enters the house in his chauffeur's uniform. Lenny greets him. Sam describes his day, his entrance is quite self-obsessed. Max behaves like a child and demands attention.

    • Word count: 1238

Conclusion analysis

Good conclusions usually refer back to the question or title and address it directly - for example by using key words from the title.
How well do you think these conclusions address the title or question? Answering these questions should help you find out.

  1. Do they use key words from the title or question?
  2. Do they answer the question directly?
  3. Can you work out the question or title just by reading the conclusion?

Marked by a teacher

This document has been marked by one of our great teachers. You can read the full teachers notes when you download the document.

Peer reviewed

This document has been reviewed by one of our specialist student essay reviewing squad. Read the full review on the document page.

Peer reviewed

This document has been reviewed by one of our specialist student document reviewing squad. Read the full review under the document preview on this page.