A collection of five Pinter plays which also contains five revue sketches written during the same period.
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This volume contains Harold Pinter's first six plays, including The Birthday Party.The Birthday PartyStanley Webber is visited in his boarding house by two strangers, Goldberg and McCann. An innocent-seeming birthday party for Stanley turns into a nightmare.'Mr Pinter's terrifying blend of pathos and hatred fuses unforgettably into the stuff of art.' Sunday TimesThe Room and The Dumb WaiterIn these two early one-act plays, Harold Pinter reveals himself as already in full control of his unique ability to make dramatic poetry of the banalities of everyday speech and the precision with which it defines character.'Harold Pinter is the most original writer to have emerged from the "new wave" of dramatists who gave fresh life to the British theatre in the fifties and early sixties.' The TimesThe HothouseThe Hothouse was first produced in 1980, though Harold Pinter wrote the play in 1958, just before commencing work on The Caretaker. In this compelling study of bureaucratic power, we can see the full emergence of a great and original dramatic talent.'The Hothouse is at once sinister and hilarious, suggesting an unholy alliance of Kafka and Feydeau.' Spectator
This revised third volume of Harold Pinter's work includes The Homecoming, Old Times, No Man's Land, four shorter plays, six revue sketches and a short story. It also contains the speech given by Pinter in 1970 on being awarded the German Shakespeare Prize. The Homecoming 'Of all Harold Pinter's major plays, The Homecoming has the most powerful narrative line... You are fascinated, lured on, sucked into the vortex.' Sunday Telegraph 'The most intense expression of compressed violence to be found anywhere in Pinter's plays.' The Times Old Times 'A rare quality of high tension is evident, revealing in Old Times a beautifully controlled and expressive formality that has seldom been achieved since the plays of Racine.' Financial Times 'Harold Pinter's poetic, Proustian Old Times has the inscrutability of a mysterious picture, and the tension of a good thriller.' Independent No Man's Land 'The work of our best living playwright in its command of the language and its power to erect a coherent structure in a twilight zone of confusion and dismay.' The Times
"Julen är räddad". Nils Schwarz i Expressen, 24 november Kontroversiell och älskad - Harold Pinter, en av 1900-talets största dramatiker, lämnar ingen oberörd. I mästerverk som Födelsedagsfesten, Älskaren, Svek och Ingenmansland har han skildrat spelet mellan man och kvinna och det anonyma hotet i människors vardag. Här finns även en skarp kritik av makten i olika former. Genom sitt fint utmejslade språk håller han både teaterpubliken och läsarna i stark spänning. Det har sagts att hans mästerskap består i att reducera, det vill säga ta bort all onödig bråte av psykologi, bakgrundsteckning och liknande. I det avseendet kan hans inflytande på det moderna dramat inte underskattas. Kvar finns i Pinters eget fall en paradoxal skönhet, en formens märkliga elegans. Det gör hans pjäser lika läsbara som spelbara. Harold Pinter tilldelades 2005 års Nobelpris i litteratur för att han i sina dramer »frilägger avgrunden under vardagspratet och bryter sig in i förtryckets slutna rum« (Svenska Akademien).Tolv gånger Pinter är den första av tre volymer av Harold Pinters samlade dramatiska verk (med undantag för Victoria Station). Innehåll: Födelsedagsfesten (1957), I väntan på Wilson (1957), Kollektionen (1961), Älskaren (1962), Natt (1969), Ingenmansland (1974), Svek (1978), Vägs ände (1984), Den nya världsordningen (1991), Party Time (1991), Det ska vi fira (1999), Presskonferens (2002).Den andra volymen utkommer den 28 november 2005, den tredje i mars 2006. Förord av teaterkritikern Leif Zern.Översättning från engelska: Åke Englund och Östen Rudal samt Anna Kölén Theorell.
Kontroversiell och älskad - Harold Pinter, en av 1900-talets största dramatiker, lämnar ingen oberörd. I mästerverk som Födelsedagsfesten, Älskaren, Svek och Ingenmansland har han skildrat spelet mellan man och kvinna och det anonyma hotet i människors vardag. Här finns även en skarp kritik av makten i olika former. Genom sitt fint utmejslade språk håller han både teaterpubliken och läsarna i stark spänning. Det har sagts att hans mästerskap består i att reducera, det vill säga ta bort all onödig bråte av psykologi, bakgrundsteckning och liknande. I det avseendet kan hans inflytande på det moderna dramat inte underskattas. Kvar finns i Pinters eget fall en paradoxal skönhet, en formens märkliga elegans. Det gör hans pjäser lika läsbara som spelbara. Nio gånger Pinter är den andra av tre volymer av Harold Pinters samlade dramatiska verk (med undantag för Victoria Station). Innehåll: Det värker lite (1958), Fastighetsskötaren (1959), Dvärgarna (1960), Hemkomsten (1964), Landskap (1967), Monolog (1972), Ett slags Alaska (1982), Bergens Språk (1988), Aska (1996). Förord av dramatikern Lars Norén. Översättning från engelska: Sun Axelsson, Magnus Hedlund, Carl-Olof Lång, Sigbrit Lång, Peter Löfgren, Tora Palm, Peter Stormare och Ulla Åberg.
Stanley Webber is visited in his boarding-house by two strangers, Goldberg and McCann. An innocent-seeming birthday party for Stanley turns into a nightmare.
This play was first performed in 1960. Harold Pinter specializes in the tragicomedy of the breakdown of communication, broadly in the tradition of the theatre of the absurds and this is demonstrated in both "The Caretaker" and "The Birthday Party".
When Teddy, a professor in an American university, brings his wife Ruth to visit London and his family, he finds himself prey to old conflicts. But now it is Ruth who becomes the focus of the family's struggle for supremacy. The playwright's other works include "The Birthday Party" and "Old Times".
This volume contains a selection of early works by Harold Pinter. In the title play, everything in Flora's garden is lovely, and would be for Edward too, if it were not for the slight ache in his eyes and the mysterious matchseller at the gate. This edition also includes A Night Out, The Dwarfs and several revue sketches.
This collection of screenplays includes "The Servant", "The Pumpkin Eater", "The Quiller Memorandum", "Accident", "The Go-Between", "The Last Tycoon", "Langrishe, Go Down", and "The Proust Screenplay."
These collected screenplays include "The Go-Between", "The Proust Screenplay", "Victory", "Turtle Diary", and "Reunion".
The Hothouse was first produced in 1980, though Harold Pinter wrote the play in 1958 just before commencing work on The Caretaker.'The Hothouse is one of Pinter's best plays: one that deals with the worm-eaten corruption of bureaucracy, the secrecy of government and the disjunction between language and experience.'Michael Billington.'The Hothouse is at once sinister and hilarious, suggesting an unholy alliance between Kafka and Fedyeau.'The National Theatre presented a major revival of The Hothouse in July 2007. 'The foremost representative of British drama in the second half of the twentieth century.'Swedish Academy citation on awarding Harold Pinter the Nobel Prize for Literature, 2005
'Betrayal is a new departure and a bold one . . . Pinter has found a way of making memory active and dramatic, giving an audience the experience of the mind's accelerating momentum as it pieces together the past with a combination of curiosity and regret. He shows man betrayed not only by man, but by time - a recurring theme which has found its proper scenic correlative . . . Pinter captures the psyche's sly manoeuvres for self-respect with a sardonic forgiveness . . . a master craftsman honouring his talent by setting it new, difficult tasks' New Society'There is hardly a line into which desire, pain, alarm, sorrow, rage or some kind of blend of feelings has not been compressed, like volatile gas in a cylinder less stable than it looks . . . Pinter's narrative method takes "what's next?" out of the spectator's and replaces it with the rather deeper "how?" and "why?" Why did love pass? How did these people cope with the lies, the evasions, the sudden dangers, panic and the contradictory feelings behind their own deftly engineered masks? The play's subject is not sex, not even adultery, but the politics of betrayal and the damage it inflicts on all involved.' The TimesFirst staged at the National Theatre in 1978, Betrayal was revived at the Almeida Theatre, London, in 1991. Twenty years after its first showing, it returned to the National in 1998.
Harold Pinter's Betrayal received its premiere at the National Theatre, London, in November 1978. After an initially guarded response from the critics, the work was rapidly reevaluated and won the Olivier Award for Best New Play the following year. Set in London and Venice the play has an innovative chronology that opens at the end of an affair and works its way backwards over nine years, from 1977 to 1968. It is widely considered one of the playwright's pivotal works.
Goldberg and McCann arrive at a seaside boarding house where Meg and Petey live with their guest Stanley. They inquire about Stanley: we soon find out that McCann and Goldberg have a job to do. Learning it is his birthday they give Stanley a party at which Stanley is verbally bludgeoned into submission. The next day Stanley is removed. It is the collective impact of the dialogue which welds they seemingly inexplicable actions of Goldberg and McCann into a menacing whole.
Teddy arrives home to pay his family a visit with his wife Ruth, who settles into the household as if into a well-known niche. Teddy's brothe's and his father all take it for granted that she is anyone's for the asking - and she is. It is then'suggested that they should set her up in trade, in a little flat in Soho. Calmly Ruth lists the conditions she requires before accepting, barely batting an eyelid as Teddy returns to America.
Stella returns from her dress collection in Leeds to tell James, her husband, that she has been unfaithful. James confronts Bill, pressing for the truth, already determined to believe the worst. Bill confesses that he and Stella had only talked about spending the night together. It had amused him to perpetuate Stella's story - to hurt his friend Harry. Is this the truth? Stella is silent.
Albert finds himself dominated by his mother. At an office party he is mercilessly teased by his colleagues and arrives home, his temper rising. When his mother nags he attacks and leaves her, gets picked up by a girl and is able to reduce her to humble servility. Yet, when he arrives home his mother is there fully recovered and ready to reassert her dominance.
Rose and Bert rent a room that might almost be a paleolithic cave; the outside is terrifying and unknown. Rose never goes out, Bert only goes to drive his van with furious aggression. A young couple call, and then a blind black man. Bert comes home, massive with triumph at smashing every car that challenged his van. Finding the stranger he kicks him to death and Rose goes blind.