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About the Author
Harold Pinter was born in London in 1930. He lived with Antonia Fraser from 1975 and they married in 1980. In 1995 he won the David Cohen British Literature Prize, awarded for a lifetime's achievement in literature. In 1996 he was given the Laurence Olivier Award for a lifetime's achievement in theatre. In 2002 he was made a Companion of Honour for services to literature. In 2005 he was awarded the Nobel Prize for Literature and, in the same year, the Wilfred Owen Award for Poetry and the Franz Kafka Award (Prague). In 2006 he was awarded the Europe Theatre Prize and, in 2007, the highest French honour, the Légion d'honneur. He died in December 2008.
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1 of 2 people found the following review helpful
Format:Paperback
After a brief nineteen page introduction a speech he made in 1955 after receiving the David Cohen British Literature Prize, the book is exactly what it says on the cover: "Harold Pinter: Plays" but these are the less well-known plays:
"Betrayal"
"Monologues"
"Family Voices"
"A Kind of Alaska"
"Victoria Station"
"Precisely"
"One for the Road"
"Mountain Language"
"The New World Order"
"Party Time"
"Moonlight"
"Ashes to Ashes".
Pinter's plays are not to everyone's taste and really need to be seen, acted well, rather than read, although to study them at leisure, reading is obviously essential and these editions are ideal for that. His plays need to be acted well to make use of the selective pauses, "non sequiturs", over-lapping dialogue and non-verbal language. Fortunately, his plays attract good theatres and "actOrs" able to lift the script from the page.
A mixture of very well-known and not so well-known plays, this edition contains a rich selection of his eerie, threatening, austere, normal, introspective worlds. On one page, forty-six pauses, one of his few directions - [Pause]. His characters always seem "involved", if that is the appropriate word, in a long series of disconnected conversations, lives which tangentially bump into one another, like bumper-cars at the fair - intimate contact but no communication.
"[Pause]
At some of these clubs I first met some of my dearest friends. All of them are now dead. Every friend I ever had. Or ever met. Is Dead. They are all of them dead. Every single one of them." "Party Time", (P 131) A cheery [Pause] chat. Like a [Pause] canape before you [Pause] leave us?
"Betrayal"
"Monologues"
"Family Voices"
"A Kind of Alaska"
"Victoria Station"
"Precisely"
"One for the Road"
"Mountain Language"
"The New World Order"
"Party Time"
"Moonlight"
"Ashes to Ashes".
Pinter's plays are not to everyone's taste and really need to be seen, acted well, rather than read, although to study them at leisure, reading is obviously essential and these editions are ideal for that. His plays need to be acted well to make use of the selective pauses, "non sequiturs", over-lapping dialogue and non-verbal language. Fortunately, his plays attract good theatres and "actOrs" able to lift the script from the page.
A mixture of very well-known and not so well-known plays, this edition contains a rich selection of his eerie, threatening, austere, normal, introspective worlds. On one page, forty-six pauses, one of his few directions - [Pause]. His characters always seem "involved", if that is the appropriate word, in a long series of disconnected conversations, lives which tangentially bump into one another, like bumper-cars at the fair - intimate contact but no communication.
"[Pause]
At some of these clubs I first met some of my dearest friends. All of them are now dead. Every friend I ever had. Or ever met. Is Dead. They are all of them dead. Every single one of them." "Party Time", (P 131) A cheery [Pause] chat. Like a [Pause] canape before you [Pause] leave us?
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