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The works of Harold Pinter are considered to be masterpieces of the theatre of the absurd. This term, first coined by Martin Esslin, is characterised by many common themes, such as uncertainty, obscurity and anxiety. Existentialism is also closely linked to this form of theatre.
In his later plays Pinter expressed a strong political consciousness. His political works employed the same dramatic techniques and Pinteresque characteristics as his previous ones with slight variations. These works differ from the those of other playwrights of the time, in that he does not employ typical aspects shown in the usual political dramas such as discursive debate and didactic speech. Even regional references have been obscured through a deliberate lack of information. As a result, the uniqueness of his political works comes from the effectiveness through which these techniques were universally applied.
Pinter's concern is basically to make the violence and evil doing of the world as he sees it, known to his audience. He conveys this message by generating an emotional reaction which is built by a series of selected images. These images force us to think about injustice and social discrimination. It can be concluded that Pinter extended the scope of political drama both technically and thematically.
In his later plays Pinter expressed a strong political consciousness. His political works employed the same dramatic techniques and Pinteresque characteristics as his previous ones with slight variations. These works differ from the those of other playwrights of the time, in that he does not employ typical aspects shown in the usual political dramas such as discursive debate and didactic speech. Even regional references have been obscured through a deliberate lack of information. As a result, the uniqueness of his political works comes from the effectiveness through which these techniques were universally applied.
Pinter's concern is basically to make the violence and evil doing of the world as he sees it, known to his audience. He conveys this message by generating an emotional reaction which is built by a series of selected images. These images force us to think about injustice and social discrimination. It can be concluded that Pinter extended the scope of political drama both technically and thematically.
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참고문헌 (20)
참고문헌 신청
도정일 / 2008 / 시장전체주의와 문명의 야만 / 생각의 나무
Aragay, Mireia / 1997 / Writing, Politics and Ashes to Ashes: An Interview with Harold Pinter. in:The Pinter Review: Annual Essays 1995 and 1996 / U of South Florida P :4~15
Betty,Mark / 2001 / Horndon / Northhouse P
Bigsby, C.W.E / 1984 / The Politics of Anxiety. in:Modern British Dramatists / Prentice-Hall :161~176
Carlson, Marvin / 1984 / Theories of the Theatre
Aragay, Mireia / 1997 / Writing, Politics and Ashes to Ashes: An Interview with Harold Pinter. in:The Pinter Review: Annual Essays 1995 and 1996 / U of South Florida P :4~15
Betty,Mark / 2001 / Horndon / Northhouse P
Bigsby, C.W.E / 1984 / The Politics of Anxiety. in:Modern British Dramatists / Prentice-Hall :161~176
Carlson, Marvin / 1984 / Theories of the Theatre
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Harold Pinter 연구 : A Slight Ache를 중심으로
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현실 일깨우기 : Harold Pinter's Family Voices에 나타나는 가족
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1993 .08
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Harold Pinter의 시간관 : Old Times를 중심으로
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1983 .09
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Harold Pinter 연구 : 1950년대 후반에서 1970년대 중반까지의 작품 연구
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1990 .12
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1997 .08
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욕망의 모호한 대상—핀터의 『지난 세월』을 중심으로
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2010 .01
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