Harold Pinter’s realistic depiction of characters’ relationships especially through their gestures, their interaction on the stage and their use of language is what made of him a staple figure of the Theatre of the Absurd. The bringing on the stage of slices of real life, the characters’ struggle for the true meaning of their existence, the reconstruction of original London speech as well as the creation of another type of language which exists beyond words are major issues which give form and identity to the new type of drama of the late ‘50s and early ‘60s. The identification of the new type of idiosyncrasies of the individual and the way they are rendered linguistically give birth to a new type of discourse which functions at more levels showing the arbitrariness of language or the inability to communicate, the gap between the temporal registers of remembering and the way in which language functions at the passage between past and present.
HAROLD PINTER – THE IDENTITY OF DRAMA
Last Updated on: October 17th, 2011 at 12:28 P, by admin