Analysis Of The Theatre Of The Absurd By Harold Pinter

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Harold Pinter is extensively acclaimed to be one leading dramatist of the British Absurdist Theatre, for many of his plays imitate the insignificance of life which characterizes most of the works of the Theatre of the Absurd. Since the triumphant performance of his first play, The Room, which established his status as an absurdist playwright, various criticisms, from supreme tributes to harshest critiques, have been made about Pinter and his works. The Theatre of the Absurd is originated in Europe and represented by such dramatic giants as Samuel Beckett, Eugene Ionesco, Jean Genet, Arthur Admov and Harold Pinter. Pinter is consistently preoccupied with the themes of power, suppression, persecution, and exploitation in his works.
To give an advanced examination of Pinter’s plays and to discover to the full the traditional tendencies and innovative attempts in Pinter’s dramatic creation. It is of necessity here to examine the general characteristics of the absurdist dramatic works: depression of
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In Absurd Drama, plot is eliminated, action simplified and language abused. Secondly, absurdist playwrights exploit dominant metaphors and a variety of real images in their plays, and sometimes even make position to legendary and biblical elements. Thirdly, abandoning rational structures of traditional theatre, many of the plays of the Theatre of the Absurd have a spherical structure, ending exactly as they begin loneliness, impossibility of communication and sterility are almost universal themes in the Absurdist Theatre. Pinter absorbs himself into the mainstream thinking and integrates all the three themes in almost all his significant plays. Loneliness prompts one to search for communication with others. However, in a world that is essentially absurd, communication is not easy. It is usually meet with great difficulty or even ultimate failure. As Stanciu

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