Approaches the problems of obscurities, ambiguities, and interrelationships in Pinter's plays through the mechanisms of the dream and shows that the plays group around the oedipal wish.
“One of the most essential artists produced by the twentieth century. Pinter’s work gets under our skin more than that of any living playwright.” —New York Times Upon its premiere at the National Theatre, Betrayal was immediately recognized as a masterpiece. It won the Olivier Award for best new play, and has since been performed all around the world and made into an Academy Award-nominated film starring Jeremy Irons, Ben Kingsley, and Patricia Hodge. Betrayal begins with a meeting between adulterous lovers, Emma and Jerry, two years after their affair has ended. During the nine scenes of the play, we move back in time through the stages of their affair, ending in the house of Emma and her husband Robert, Jerry’s best friend. “[Betrayal] deals with the shifting balance of power in triangular relationships, and with the pain of loss. . . . Pinter probes the corrosive nature of betrayal . . . a world where pain and loss are explored with poetic precision.” —Guardian “Betrayal is an exquisite play, brilliantly simple in form and courageous in its search for a poetry that turns banality into a melancholy beauty.” —Newsweek “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 . . . The play's subject is not sex, not even adultery, but the politics of betrayal and the damage it inflicts on all involved.” —Times (UK)
Harold Pinter has long been acknowledged as one of the most influential playwrights in contemporary theatre: his arresting and original works have left a lasting imprint on the development of the stage and screen while delighting audiences around the world.
Full of surprising juxtapositions and possessed of a gargantuan range of voices and styles, 99 Poems in Translation is a unique convergence of some of the world’s most beautiful poetry. The poets range from Anna Akhmatova to Yuan Chen, from Charles Baudelaire to Virgil, each of them translated into memorable English by such poetic luminaries as Ben Johnson, Elizabeth Bishop, and Robert Graves. Arranged alphabetically, this collection span centuries and continents.
In 1953, Samuel Beckett’s Waiting for Godot premiered at a tiny avant-garde theatre in Paris; within five years, it had been translated into more than twenty languages and seen by more than a million spectators. Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition. Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.
In a drama set in two bedrooms and a dark space, a man on his deathbed reviews his life, loves, and betrayals with his wife, while his two conspiratorial and emotionless sons sit in the shadows rationalizing their love-hate relationship with their now dying father and their inability to take steps to end the estrangement.