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2022-12-02 14:52:11 | 日記
Harold Pinter
Harold pinter rose to prominence in the 1960s and 1970s as one of the most important British playwrights of the twentieth century,conveys by casting doubt upon what appear to be the facts of stories taking place in everyday settings.
in his first full-length play,the birthday party,for example.two strangers enter a boarding house and proceed to terrorize Stanley,one of the guests.
Who the strangers are,what their purpose is,and how they are connected to their victim are never explained.
plays utilizing such dramatic devices,however,initially frustrated both critics and audiences alike,since exposition that would allow them to grasp a play' meaning and the motivations behind the character's action was considerd and indispensable part of scriptwriting.
though the birth party was initially a commercial failure,Pinter's unconventional style became renowned in his subsequent plays.
using psychological manipulation,Pinter's characters play elaborate power games with on another,struggle for dominance,and employ language as a weapon to gain control.
as apposed to straightforward questions and answers,their conversations tend to sound more like private monologues with occasional interruptions by the listener,and rarely serve the purpose of clearly conveying information.
indeed,their dialogue frequently contradicts their thoughts,which are sometimes only hinted at by their silences.
they are often confused about their identity and live in a world governed by dread and uncertainty,Typically dominant intruder will arrive without warning and upset the status qquo by seeking to impose his or her will upon those present.
what follows is a negotiation for some sort of advantage,whether that be between two strangers,a husband and wife,or a tortuer and his or her victim.
with what his biographer,Michael Billington ,calls his "ability to create dramatic poetry out of everyday speech,"Pinter builds a tension which rarely explodes but nevertheless produces a dramatic,compelling ,and,a times,darkly humorous effect.
though widely prised for his revolutionary storytelling and dialogue,Pinter failed to attain the widespread adoration that some other playwrghts have achieved.
one reason is that his works were often met with confusion,followed by irritation,and they were valley,however,sees such reactions as being the result of Pinter's briliance in crating a "blank screen on which it is possible for everyone to project their own incarnations of reality."
in contrast to clearly on the side of either good or evil,Pinter's main subject matter was the moral ambiguities of modern existence.
valley argues that Pinter's "strength lies in the immediacy with which he conveys that sense,even to hose who could not begin to articulate it.
"Despite Pinter's somewhat divisive reputation,his work continues to be performed regularly,and it is unlikely that it will ever fall into obscurity,which is the common fate of the majority of playwrights.



ハロルド ピンターは、20 世紀で最も重要な英国の劇作家の 1 人として 1960 年代と 1970 年代に注目を集め、日常の設定で起こっている物語の事実と思われるものに疑問を投げかけることによって伝えています。
次に続くのは、見知らぬ 2 人の間、夫と妻の間、または拷問者とその犠牲者の間であるかどうかにかかわらず、ある種の利益のための交渉です。
理由の 1 つは、彼の作品がしばしば混乱に見舞われ、その後に苛立ちが生じ、それらが谷間だったことです。現実の化身。」
Valley は、ピンターの「強さは、その意味を明確に表現できなかったホースにさえ、彼がその意味を伝える即時性にある」と主張している.

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