By Jane Wong Yeang Chui
Utilizing Martin Esslin's "invention" - the Theatre of the Absurd - to envision Pinter's works, Wong brings the complexities and intricacies of the performs to the leading edge, scary readers and audiences to re-evaluate and problematize extra traditional reports of his performs.
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Extra info for Affirming the Absurd in Harold Pinter
Pause I’ll have to tar it over. You’re going to tar it over? ] Think that’ll do it? It’ll do it, for the time being Uh. The nature of what little communication they have in the play consistently follows this pattern. The lack of conversation and contact between the two brothers is curious; Ricky Morgan suggests that “Mick apparently loves Aston and feels a great deal of compassion for Aston’s suffering,” and “knowing the causes of Aston’s incapacity, Mick feels guilty for resenting it” (94). But on the other hand, he also points out that Aston feels compelled to play the dominant brother, which assumes that there is a power struggle in the house between the two brothers.
Mr. Webber, sit down. Stanley. It’s no good starting any kind of trouble. Goldberg. Sit down. Stanley. Why should I? ] Goldberg [to Mccann]. Ask him to sit down. Mccann. Do you mind sitting down? Stanley. Yes, I do mind. (40–41) The argument between the men about who must sit and when to sit gets increasingly elaborate and runs through three pages. As it becomes more heated, Stan asserts his dominance by insisting that he would sit only if McCann does it first: the seated man is no doubt cast into a submissive role.
I got to be a bit careful. Aston. Why, someone after you? After me? Well, I could have that Scotch git coming looking after me, couldn’t I? All I’d do, I’d hear the bell, I’d go down there, open the door, who might be there, any Harry might be there. ” His complaints, which initially make him out to be a racist, expose a larger prejudice against all things unfamiliar and strange. In general, Davies exhibits a sense of paranoia, and his anxieties are very likely triggered by his fear that everyone is against him.
Affirming the Absurd in Harold Pinter by Jane Wong Yeang Chui