Harold pinter

下面为大家整理一篇优秀的assignment代写范文- Harold pinter，供大家参考学习，这篇论文讨论了品特。哈罗德·品特是公认的二十世纪下半叶英国最杰出的剧作家，也是当代西方荒诞派戏剧在英国的最重要代表，他一生创作了二十九部独幕剧和多幕剧，还创作了大量电视剧本。品特运用独特的语言风格以及不同于传统戏剧的情节设置形成了独特的品特式戏剧。在传统的戏剧基础上，品特既对传统戏剧进行了继承，同时也取得了创新。

Harold pinter won the Nobel Prize for literature in 2005. He is recognized as the most outstanding British playwright in the second half of the 20th century and the most important representative of contemporary western absurdist drama in Britain. He wrote 29 one-act and multi-act plays and a large number of TV plays. His major works include "room", "dish elevator", "birthday party", "custodian", "dwarf", "evidence collection", "tea party", "home", "old days" and "nihilism", etc. On the basis of traditional drama, pinter not only inherited traditional drama, but also made innovations.

Most of the traditional British dramas are based on social reality, which reflects the real life of the British society. Stories are told about the daily life of the British people. The best-known example is George Bernard shaw's play on social problems. All the scripts reflect the life and stories of the people at the bottom of the society, and discuss the social reality reflected by the misfortune and sorrow of the little people at the bottom, so as to reflect the public's reflection on the current situation of British society. Pinter followed this trend. Most of his plays are stories about ordinary people in ordinary lives. Ross and his wife in "the room," the two killers in "the vegetable elevator," the cheating couple in "lovers," and so on. He describes the lives of some small people, but the social problems reflected include violence, power, male power and feminism, etc. These problems are jointly reflected by oppression and threat, which are also the common themes in pinter's works. Pinter created his unique style of drama on the theoretical basis of traditional drama, which to some extent is a subversion of traditional drama. The author mainly explores and analyzes pinter's unique absurdist plays in pinter's unique style formed by pinter's innovation and development on the basis of traditional operas.

Although pinter followed the social themes in traditional dramas, his works subverted the traditional forms of expression in plot, language and characterization. Pinter refused to use the traditional rational way to reflect life like the realistic dramatist, but used the absurd way to directly show the existence of absurdity. Pinter created his own Pinteresque drama.

Pinter's literary creation can be divided into several stages. His early creation was called "threat comedy". "Room", "birthday party" and "vegetable elevator" are representative works of "threat comedy". Pinter once said, "two men in a room... The curtain rises, which means a question with many possibilities is raised. What would happen to the two men in the room? ...... Clearly, they were afraid of things outside the house. Outside the house was a terrible world pressing down on them. It's just as bad for you as it is for me."

Take the dish elevator as an example. The characters are the killers Ben and gus; The story is set in an enclosed basement, which is furnished with only two beds. There is a food elevator on the wall, and they do not have any other facilities to understand and contact the outside world. Two people are ordered to wait for the instruction of the boss here, bored to death in two people rambling to say nonsense. At this point, the room in the wall of a food elevator suddenly started, the menu continues to send down. The anxious and fearful couple can only do their best to meet the above requirements. Finally, Ben gets the order to kill the first person who enters the room. It's none other than gus, his partner in the room, who seems to be suspicious of the mission. We can see the "threat" of this play: the characters thought that the closed basement could isolate the "threat" from the outside world, but they did not expect that the real threat exists between Ben and ge who live together in the basement. Even if we were once interdependent, cooperative, and trusted partners would face the situation of getting rid of each other, let alone the real society we live in? This makes us think that our best friend will hurt each other someday. Who can we trust in the end? Does trust exist between people? Second, basements that seem safe and isolated from the rest of the world to avoid "threats" are not really safe because the elevator connects the outside world to the basement. So the "threat" from the outside is conveyed to the basement via the elevator. "Threat" exists all the time. The place where we think we are safest is actually where the biggest "threat" lies.

The sense of space threat is the prominent theme of pinter's drama. Most plots in pinter's early works took place in a limited space, because pinter limited the dramatic scenes to a small and closed space, leaving the protagonist in a state of isolation and a temporary sense of security. But a variety of external threat is not far away from their lives, whether unknown world or known space invaders, have deep inside them incisively and vividly that anxiety and fear, "room", for example, rose and her husband lived in a building, and Ross is like their room very much, she thought as long as stay in the room, is not under threat from the outside.

We can learn from rose's words that rose is satisfied with the room they are living in now, she thinks it is very safe. She was confined to such a narrow room and never went out. However, her peace of mind is broken when a young couple come to see the house. Finally, a black man living in the basement comes to her. The black man is killed by rose's husband. In fact, rose was deceiving herself. She confined herself to a room where she thought she was very good and safe and did not step out of it, thinking that she could live in peace and avoid "threats". However, she was wrong. Her "threat" was a black man living in the basement, and the "threat" was with her until the tragedy happened.

In pinter's works, the words of the characters are always repeated, paused or even silent. In order to fight for the right to speak, the characters in the play use pause and silence to control their own words. Pinter's language is simple and humorous and often USES pauses and silences to create suspense and reinforce hints.

Ben and gus are both fighting for the right to speak. They both want to control the words and make each other listen to them. Ben asked gus to say what he was interested in, but gus paused and repeated that he was interested in some things. Ben knew that gus would not answer if he asked further, and would only be held back by gus's irrelevant answer and meaningless repetition. Then Ben seized the right of speech and turned to his woodwork. A short paragraph, the two people secretly fighting is very obvious. Through repetition, pause and silence, we can feel the tension and tension between the two killers.

In pinter's the room, rose, as a woman and a wife, has been ignored by her husband, the representative of male power.

Rose went on and on and on for 123 sentences, but in this long speech, burt did not give a single word or a single word of reply, not even a nod or a glance. He was simply ignoring, silencing, not communicating with, not affirming with, this long ramble about Ross. But he can enjoy his wife's care and concern, and take it for granted. This is a gross disrespect to his wife. Bert is the symbol of male power, while rose is a weak woman, who has no status, equality and rights, and is just regarded by men as their vassal.

Rose he was in this closed off room, and the only person he could talk to was her husband. When rose was in such a state of fear and uneasiness that she needed reassurance and reassurance from her husband, he would not even look at her to say a word. He always ignored what rose said and never gave her credit. And what he does is he takes control of the discourse, he takes control of his wife, and he makes her completely obedient to him, obedient to him, without any resistance. This was attached to women by the patriarchal society at that time. Women have no right of speech and are ignored, disregarded and lack equal status by their husbands. We see not hard, like about Ross, her nagging does not have any effect on her husband, her husband is indifferent to her, and in the long-term orders, with no "wife" after the silence and absence of the husband finally opens the mouth to say the words, but it turns out to be about his car, talk about the tone seems actually talking about a beauty. As a victim of the patriarchal society, the image and situation of women like rose were exactly the current situation of British society at that time. The miserable status of women cannot be improved. In order to pursue the equal status and power of women, the outbreak of feminist movement is inevitable.

Pinter's early works were all in the style of absurdists. Most of his works were different from the conventional plot structure and language of traditional dramas. The language also used pauses, silences and repetitions for many times to enhance the sense of oppression. And most of the works embody a common theme, that is, "threat". "Threat" is everywhere, both from the external environment, but also from the character's inner self. Even if pinter set the situation in a small, closed and isolated space, the "threat" will always be there. Thus pinter also created his unique style of "threat comedy". At the same time, pinter's works also reflect the oppression of male power and feminism. However, although most of pinter's plays are subversive of traditional plays, we should also admit that pinter inherited the theme of traditional plays that reflected the state of the real society. This is pinter's inheritance and innovation of the traditional English drama.

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