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Reception and Popularity of Harold Pinter’s Plays in Slovenia after 1999
Urša Gavez, 2015, undergraduate thesis

Abstract: Harold Pinter is a world famous and appreciated playwright, who started his career rather unsuccessfully. As a representative of theatre of the absurd, he was faced with negative and critical reviews of his work. It is hard to say whether the reviewers did not understand his style or simply refused to understand it. However, the playwright’s new style ended up setting new boundaries in modern drama. Pinter’s plays, which were among the first to be presented on the Slovene stage received a similarly modest welcome. The audience found his long pauses, silences and incoherent dialogue insufficiently engaging, and many ended up leaving the theatre before the performance was over. One of the main reasons was that they were not familiar with this original and new writing style, which with time acquired its own adjective – ‘Pinteresque’. Throughout the world Pinter’s popularity increased more rapidly than in Slovenia, while today the playwright is not a stranger to the Slovene theatre. Pinter’s plays have been performed quite a few times on Slovene stages. The question that arises is whether reception of Pinter’s plays and his popularity among the Slovene audience has increased with time. There is a great possibility that Pinter’s popularity in Slovenia is a result of the playwright’s reception among Slovenes as well as the other way around. In this graduation thesis, we will focus on factors that have influenced a positive or negative reception of Pinter’s plays in Slovenia. In pursuit of this, we mainly focus on two events: Pinter’s receiving the Nobel Prize in Literature and his death. With the statistical data regarding Pinter’s plays staged in Slovenia after 1999, this graduation thesis will show how reviews, media presence and other factors influenced the popularity of Pinter and his plays in Slovenia, and how they simultaneously contributed to the reception and integration of the playwright’s style into the Slovene theatre, and brought the playwright closer to the Slovene public at the same time.
Keywords: Harold Pinter, theatre of the absurd, reception, popularity, play, media presence
Published in DKUM: 07.10.2015; Views: 1631; Downloads: 88
Full text (951,10 KB)

PANOPTICISM IN PINTER'S THE DUMB WAITER
Kristina Kolak, 2012, undergraduate thesis

Abstract: Written in 1957 by one of the most influential contemporary British dramatist Harold Pinter, The Dumb Waiter may never have gained the popularity of other Pinter works, yet it remains to this day one of his most challenging and provocative plays, a powerful metaphor of man’s position in modern society. The play was labelled a “comedy of menace” and placed within the Theatre of the Absurd, while its political side was often overlooked. The very title of the play contains Pinter’s political cynicism as well as his almost apocalyptic view of the future of the human race and is highly symbolic of some of Pinter’s most frequently employed techniques and themes: silence and violence of language, one-way communication, use and abuse of power, the exposure of characters to ominous menace, and the sense of imprisonment of body and soul when trapped inside four walls. Pinter’s preoccupation with confined spaces and consequently with seemingly free individuals who are deprived of basic human rights, such as freedom of speech, blends nicely with Foucault’s vision of a modern carceral society. In this diploma thesis, the play is analysed through Michel Foucault’s concept of panopticism, where the “Pinteresque” room acquires a symbolic meaning of modern man’s ravaged state of mind and loss of identity, constantly exposed to surveillance and the invisible power of the modern information society.
Keywords: The Dumb Waiter, Harold Pinter, Theatre of the Absurd, comedy of menace, Pinteresque, Michel Foucault, panopticism.
Published in DKUM: 12.06.2012; Views: 3054; Downloads: 166
Full text (545,92 KB)

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