The Short Plays Of Harold Pinter

This volume contains the complete short plays of Harold Pinter from The Room, first performed in 1960, to Celebration, which premiered in 2000.The book commemorates the tenth anniversary of the playwright's death and coincides with Pinter at the Pinter, a celebratory season staging twenty of his one-act plays at the Harold Pinter Theatre, London, 2018.With a foreword by Antonia Fraser. 'The foremost representative of British drama in the second half of the twentieth century.' Swedish Academy citation on awarding Harold Pinter the Nobel Prize in Literature, 2005.

The Room and The Dumb Waiter In these two early one-act plays, Harold Pinter reveals himself as already in full control of his unique ability to make dramatic poetry of the banalities of everyday speech and the precision with which it defines character. 'Harold Pinter is the most original writer to have emerged from the "new wave" of dramatists who gave fresh life to the British theatre in the fifties and early sixties.' The Times

Flora and Edward invite the match seller into their home. The match seller is silent; faced with this silence, Edward destroys himself while Flora gains strength, until finally Flora turns Edward out with the tray of matches. The midsummer's day which began with Edward having a 'slight ache' ends in his total disintegration.

THE STORY: Furthering the theme of political consciousness expressed so forcefully and eloquently in his earlier play One for the Road, the author's present play takes place in an anonymous country where individual liberties have been forfeited to the state. Set in a prison where the inmates are forbidden to speak their own language, the play is comprised of four terse, arresting scenes which make masterful use of nuance and subtle understatement (with sudden bursts of violence) to create an overwhelming sense of terror and shocking futility. In one scene uniformed officers taunt and belittle the women who have come to visit their men, who are political prisoners; in another a mother and son are allowed to speak only in the language of the capital, which they do not know; in the third scene a young woman accidentally sees a guard holding a limp, tortured man whom she knows to be her husband; and, in the final scene the old woman reunited with her bloody, trembling son and, though told she may now speak, she has been silenced so long that she cannot, or will not, do so. Quintessentially Pinteresque in its skillful use of pregnant pauses, resonant images and nightmarish utterances, the play is both enthralling theatre and a stirring reminder of what can happen when the power of the state becomes all-encompassing and the rights of the individual are forfeited, whether through neglect or weakness of will.

Stanley Webber is visited in his boarding house by strangers, Goldberg and McCann. An innocent-seeming birthday party for Stanley turns into a nightmare. The Birthday Party was first performed in 1958 and is now a modern classic, produced and studied throughout the world.