This thesis is a study of the concept of non-conformity in a selection of Harold Pinter's plays. Chapter one is a historical and social background of England in which Harold Pinter wrote his plays. Chapter two discusses three plays: "The Birthday Party", "The Dumb Waiter", and "The Caretaker". Chapter three deals with two plays: "The Lover" and "The Homecoming". The Conclusion sums up the findings of the thesis.
Table of Contents
1. Chapter One
1.1 Section One: Historical and Social Background
1.2 Section Two: the Characteristics of Pinter’s Plays
2. Chapter Two
2.1 Section One: The Individual/Freedom vs. Society/Restriction: The Birthday Party
2.2 Section Two: The Individual vs. Religious and Political Powers: The Dumb Waiter
2.3 Section Three: Individual Vision vs. Social Restriction: The Caretaker
3. Chapter Three
3.1 Section One: Society, Family, and Sterile Life: The Lover
3.2 Section Two: That which destroys the family, corrupts society: The Homecoming
4. Conclusion
5. Bibliography
Objectives and Themes
This thesis examines the theme of non-conformity in selected plays by Harold Pinter, exploring the conflict between the individual and the restrictive forces of modern English society. It seeks to analyze how societal, political, and religious institutions attempt to impose conformity and the resulting impact on the individual, the family, and social cohesion.
- The historical and social background of 20th-century England and its influence on Pinter’s dramatic world.
- The analysis of Pinter’s dramatic techniques, including the use of silence, ambiguity, and language as a means of evasion.
- The struggle for freedom and identity in the face of institutional pressure and social alienation.
- The depiction of the family as both a potential refuge and a site of corruption and degeneration.
Extract from the Book
Section Two: the Characteristics of Pinter’s Plays
Harold Pinter is one of the modern British playwrights who are associated with the Theatre of the Absurd. He was born in Hackney, in London’s East End. This neighborhood was the site for many violent clashes between different political factions during Pinter’s youth. Add to this the destruction this area witnessed during the Second World War, which left its mark on the young Pinter. He says: [...] in 1944, I saw the first flying bomb. I was in the street and I saw it come over. …There were times when I would open our back door and find our garden in flames. Our house never burned, but we had to evacuate several times.
Pinter’s view of the world was shaped by the antagonisms of British political factions and suffering through the havoc thrown onto London by the Second World War. As he recalled in an interview, “Everyone encounters violence in some way or another. It also happens I did encounter it in quite an extreme form.” Such a turbulent childhood may help explain the violent trace and the sense of impending danger observable in Pinter’s dramas that gained the label of “comedies of menace.”
This and an early and long exposure to the world of theatre made Pinter a masterful craftsman. Pinter joined the Royal Academy of Dramatic Art (RADA) with a grant from the London County Council. Although he dropped out of RADA after a year of enrolment, Pinter continued acting, under the name of David Baron, in London. Soon, he joined an Irish repertory company, and at the same time wrote poetry and short stories.
Summary of Chapters
Chapter One: Provides an overview of the political, economic, religious, and social history of England, alongside an introduction to Pinter’s unique dramatic techniques.
Chapter Two: Investigates the theme of non-conformity in three major plays: The Birthday Party, The Dumb Waiter, and The Caretaker, focusing on individual identity versus institutional control.
Chapter Three: Explores the influence of society and the breakdown of familial morality in The Lover and The Homecoming.
Keywords
Harold Pinter, Non-conformity, Modern Drama, Theatre of the Absurd, Individual vs. Society, Social Restriction, Family Corruption, Political Power, Alienation, English Literature, Conformity, Dramaturgy, Institutional Pressure.
Frequently Asked Questions
What is the core focus of this thesis?
The work primarily explores the theme of non-conformity in the plays of Harold Pinter, focusing on how individuals resist the pressures of modern English institutions.
What are the primary themes discussed?
The central themes include the conflict between the individual and society, the oppressive nature of political and religious authority, the breakdown of familial structures, and the loss of identity.
What is the main research goal?
The study aims to analyze how Pinter depicts the stages of development regarding the conflict between the individual's desire for freedom and society's demand for conformity.
Which scientific method is applied?
The author employs a literary analysis method, examining the selected texts through historical, social, and psychological lenses, supported by critical scholarship.
What does the main body of the work cover?
It covers three chapters: the historical context and Pinter's techniques (Chapter 1), an analysis of plays featuring the individual versus authority (Chapter 2), and a study of societal influence on the family (Chapter 3).
Which keywords characterize this work?
Key terms include non-conformity, institutional pressure, social alienation, Theatre of the Absurd, and Pinter's "comedies of menace."
How does Pinter use language to show the evasion of communication?
Pinter utilizes everyday speech characterized by repetitions, clichés, and poor syntax to demonstrate that characters often use language as a weapon or a shield rather than a tool for genuine connection.
How is the family unit depicted in 'The Homecoming'?
The family in The Homecoming is depicted as a degenerated, animalistic institution that reflects the moral bankruptcy of the broader society, prioritizing economic considerations and power over moral values.
- Arbeit zitieren
- Raad Abd-Aun (Autor:in), 2001, Non-Conformity in a Selection of Harold Pinter’s Plays, München, GRIN Verlag, https://www.grin.com/document/311653
