- 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
Currently browsing by:
- Remove1000-1999 words
Meet our team of inspirational teachers
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
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
'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
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
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