Of All of contemporary british playwrights, harold pinter is ,perhaps, the most controversial.there is much discussion and a little agreement among his critics about what his plays say,what they imply,what meanin they convey,the relationship between “structure” and “theme” and the relationship of “character” to situation”.the one aspect of his plays,however,that has aroused an unwavering interest is his dialogue.dialogue in pinter’s works is also the most problematic element of his drama.on the one hand,it is labelled as “naturalistic” based on everyday speech and conversation and on the other hand it has been repeatedly called “confusing” and “meaningless” by many critics.the impass that faces most critics is how to reconcile these two opposing …show more content…
A still more critical interest emphasizes what a play says by unsaying it.in other words,what attracts most critics is pinter’s innovative use of silence,or,better to say,a character’s willful refusal to speak,respond,or engage in any conversation with other characters.this refusal to talk,this insistence on silence seems to say more than what the actual words uttered would imply.this dichotomy between what is said and what is unsaid is the most aspect of pinter’s dialogue. Pinter’s reliance on the unsaid and the implicit appear to correspond to the current cultural situation which undermines accepted “certainties” in religion,philosophy,and …show more content…
Pinter equates silence with language.silence for pinter speaks sometimes louder than the actual words that come from the mouth of a character,especially in the early plays.the choice of the two plays is not , however,arbitrary.both are one-act plays that have three characters only:a man,a woman,and an intruder who comes from outside to bring disaster.in both plays the setting is a small room in a big house.besides,in both plays the main character goes blind,a symbolic act open to several interpretations. Pinter’s first play the room summarizes his basic concerns,imagery,and themes.it is also the most characteristic play in terms of style.in his more recent plays few things change,but the constant element in pinter is his style,the idiosyncratic manipulation of words and silence,in this respect,pinter shows qualities of an original writer.a contemporary critic argues that: No matter what metamorphosis his art may undergo a serious writer of any talent has some habit of mind that remains constant,though it may be manifested in a recurrent rhythm or collection of
He reread and dwelled upon each work he read, this emphasizes the work staying and settling in his mind. Whereas, reading is superficial with a “premium on doing it quickly” (166). Or Camillo, who was paid by King Francis I to build a memorial palace for him and him alone. Camillo promised that one “can hold in the mind and master all human concepts and all things that are in the entire world” (168). He believed that there was a magical system where, by memorizing images, one could understand the connections of everything.
Throughout the years, and throughout various forms of media, some of the greatest creative minds have been the victims of the most unfortunate circumstances. For many, their major problem is that of addiction, and one could say that it affects their work, for better or worse. For example, a writer’s prose usually is affected at least partly by the author’s inner dialogue, and thus, the author’s problems get mixed in with their writings. Therefore, the author’s addictions become a part of the work itself.
“A dramatistic explaination appears in terms that performers can comfortably employ in their efforts to stage events” (Pelias and Shaffer 62). This means that the process for understanding text in an aethestic manor needs to be simple and understandable to the performer so it can be clearly related to the audience. So, for the process to be effective it has to be true to reality, otherwise the message of the text will be lost. Pelias and Shaffer describe the questions in Burke’s Pentad as “fundamental of all human action” (62). The simplicity and familiarity of the concepts are comfortable for even the most inexperienced performer.
Hamlet makes use of the idea of theatrical performance through characters presenting themselves falsely to others – from Rosencrantz and Guildenstern spying on Hamlet to gain favor with the King, to Hamlet himself playing the part of a madman – and through the play within the play, The Mousetrap. This essay will discuss the ways in which Hamlet explores the idea of theatrical performance, ‘acting’, through analysis of the characters and the ‘roles’ they adopt, specifically that of Hamlet and Claudius. The idea, or the theme of theatrical performance is not an uncommon literary element of Shakespearean works, the most famous of which to encompass this idea being As You Like It. This essay will also briefly explore the ways in which Hamlet reminds its audience of the stark difference between daily life and dramatization of life in the theatre.
The court of Denmark is full of hungry ears, listening for news of the king’s death, how he died, scandalous gossip of the newly wedded Claudius and Gertrude, eavesdropping on conversations, catching whispered secrets, and sometimes lies. Such open ears in the court offer easy access for words, truthful or not, to slither into the mind and sake seed inside unsuspecting listeners. In fact, spoken words in Hamlet are apt to find their way into unguarded ears and have great effects upon characters in the play. Shakespeare uses prominent imagery of ears to illustrate words’ powerful influence on the actions and emotions of a person.
Alan Bennett presents his characters in Talking Heads by writing the plays in the form of monologue. By employing this technique he has managed to create a rich and detailed World in which his stories unfold but, he only allows us to see it through the eyes of a single narrator. When reading a play that is presented in this manner it is possible to lose sight of the fact that you are only getting one person’s version of events and you may start to believe that you are having conversations reported to you verbatim. This is a clever mechanism because the narrators can often be unreliable and lead the reader to form opinions and draw conclusions that quite often turn out to be unfounded and false. The term “Talking heads is a synonym in television for boredom” (Bennett, 2007, p, 10) yet, these talking heads are certainly not boring, the settings may be drab and ordinary, the characters are not exciting or inspiring yet, the gossipy way in which the stories are told hooks the reader in. Fitting neatly into the genre of tragicomedy it is perhaps fitting that the ‘tragic’ comes before the ‘comedy’, certainly the dramatist infuses the plays with a rich dose of humour but the melancholy subject matter and the often quite sad and lonely characters always counter balances the laughs with a tinge of sadness.
Communication is a vital component of everyday relationships in all of mankind. In plays, there are many usual staging and dialogue techniques that directors use to achieve the attention of the audience. However, in the play, “Post-its (Notes on a Marriage)”, the authors Paul Dooley and Winnie Holzman use both staging and conversation in order to convey the struggles of modern relationships. The play is unconventional in how it attempts to have the audience react in a unique way. The authors use staging and conversation to portray to the audience that there are complex problems with communication in modern relationships.
In Shakespeare’s play, Hamlet, protagonist Hamlet, experiences many rises and falls throughout the play that have a major impact on his mentality decline. The way in which readers interpret the character, Hamlet, can vary in many ways. For instance, Hamlet delivers many soliloquies throughout the work, giving readers a better insight of his state of mind. Additionally, two significant soliloquies in both Acts II and III show a clear view of Hamlet’s mental and emotional state.
Minor characters play a very crucial role in Shakespear's Hamlet. They serve as narrators for events that occurred outside the immediate play: the Dane's ghost. Distinct contrasts are created through the usage of the play's minor characters. The reader gains new perspective on Hamlet's character when he is compared with Laertes. The presence of these minor characters can also have a direct effect on the action of the play. The actors in the play within the play are used to expose the guilt of Claudius; Hamlet then has proof of the King's crimes. The expertise use of these characters - either to exemplify good and purity, or to spread the vile corruption which permeates Elsinore - is one of the main reasons for Hamlet's success as one of the greatest plays ever written.
The archetypal tragedy of two star-crossed lovers, separated by familial hate, is a recurring theme, which never fails to capture the minds of the audience. It is only at great cost, through the death of the central characters that these feuding families finally find peace. This is an intriguing idea, one antithetical. I have chosen to analyze both Shakespeare 's Romeo and Juliet and Laurent 's West Side Story. The purpose of this essay is showing how the spoken language is utilized in these different plays to meet differing objectives. The chosen scenes to further aid comparison and contrast are the balcony scenes.
Charlotte Gilman was a renowned feminist author who published most of her work in the late 1800s and the early 1900s. Her works, of which "The Yellow Wallpaper" is most famous, reflect her feminist views. Gilman used her writings as a way of expressing these views to the public. At the time "The Yellow Wallpaper" was written, the attitude in colonial America towards feminists was not one of tolerance or acceptance. In the mid-1880s, Gilman suffered a nervous breakdown and eventually was referred to a specialist in neurological disorders. The doctor's diagnosis was such: Gilman was perfectly healthy. The doctor ordered Gilman to domesticate her life and to immediately stop her writings. Gilman went by the doctor's orders, and nearly went mad. Now although "Yellow Wallpaper" is a fictional story, it becomes clear that the story was significantly influenced by Gilman's life experiences. Gilman seems to be exploring the depths of mental illness through her writing.
The play defies easy definition and various critics have labeled it variously as absurdist, existentialist, comical, burlesque, metaphorical or grim. The playwright on the other hand maintained that all through the creation of his work he strove to bring in the comic element and any tragedy that seems part of the play, may have crept in inadvertently and whenever it has been staged as a serious play, audience reaction to it has been cold.
In the famous final speech of Charlie Chaplin’s film The Great Dictator, released in 1940, it is clear that the speaker put forward an advocacy of democracy and against tyranny. Using Kenneth Burke’s pentad as a means of analyzing this speech allows for better understanding who he places blame on and what he advocates. Moreover, Kenneth Burke’s pentad also aids in understanding the relationships between the five components of the pentad, as well as which one becomes the determinant in every part of the speech, told from the twenty ratios made up with the five components. In this final paper, I would use the model of Burke’s dramatistic pentad to tentatively explore the rhetorical motivation behind Charlie Chaplin’s speech.
Throughout William Shakespeare’s play, Hamlet, Hamlet’s behavior and actions cause readers to question his sanity. Hamlet’s character can be interpreted in many different ways. It could be said that he is indeed insane, or it can be disputed that he, as he made known, is simply putting on a good act. The complexity of knowing Hamlet’s true character derives from the fact that we, as readers, are unable to read Shakespeare’s or Hamlet’s minds. Therefore, judgments could be made solely by reading and interpreting his behavior and coming up with a satisfactory conclusion. Taking into consideration incidents such as Polonius’ murder and Hamlet’s contemplating suicide, it is natural for individuals who perform such acts to be categorized as crazy. Ignoring Hamlet’s actual actions, and paying keen attention to what altered his character, one can debate that Hamlet is not at all insane. It is important to consider the situations which triggered Hamlet’s different actions. By giving discreet thought to Hamlet’s position and what he endures, one will realize that he is not demented, but he is actually an angry, betrayed and emotionally devastated fatherless son.
Throughout his life, Pinter has written about and protested against social pathologies like war, human rights violation, terrorism, discrimination and totalitarianism. Having first-hand experience of the horrors of World War II and growing up at a time of Holocaust which caused large scale extermination of Jews in Hitler’s Europe, led Pinter to voice against all forms of social pathologies and the totalitarian institutions which inflict social evils or diseases. The trauma that Pinter went through in the early years of his life made him comprehend and relate with the physical and mental trauma that victims of social pathologies go through. His plays especially the early comedies of menace and the later overtly political plays exhibit his concern with post-war man’s egotism, hopes, feelings, struggles, crises, aspirations and objections against dominion, power, self-obsessed government, menace, suppression, coercion, injustice,