HAROLD PINTER PDF
The Caretaker 1 This page intentionally left blank Mansoor Ahmed Khan University of Karachi The Caretaker was irst presented by the Arts Theatre Club in. "Pinter did what Auden said a poet should do. He cleaned the gutters of the English language, so that it ever afterwards flowed more easily and more cleanly. Harold Pinter, the son of a tailor, was born on October 10, at Hackney in. London The solitude of Pinter helped him in developing dramatic urge to create.
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Harold Pinter Plays - Download as Word Doc .doc), PDF File .pdf), Text File .txt) or read online. the cambridge companion to harold pinter. Harold Pinter was one of the world's leading and most controversial writers, and his impact and influence continues to . PDF | This article introduces Pinter as an early practitioner of the Theater of the Absurd as well as an existentialist. In his plays The Dumb.
JERRY approaches with drinks, a pint of bitter for him, a glass of wine for her. He sits. They smile, toast each other silently, drink. He sits back and looks at her. How are you? All right. You look well. He raises his glass. However, the authors do state that "no matter how fiercely you assault his plays If this is so, why another volume? The authors go on to proclaim that critics are useless, "doomed to fail" in "motive-mongering about Pinter's characters" p.
In order to avoid such a fate, Almansi and Henderson decided to examine the playwright's language, and they conclude that his characters use language strategically to control other characters.
This approach to Pinter's plays is detailed in the "Introduction," the most controversial section in the book.
Old Times By Harold Pinter
The most illurrUnating sections are on the early plays, The Caretaker, and The Homecoming chapters three, four, and five. The authors treat these plays with intelligence and insight. Essentially, they distinguish between the phatic and rhetorical modes of interrogation employed by Pinter's characters, and they demonstrate how utilizing one mode in circumstances that scem to call for the other results in evoking either menace or humor. The rest of the chapters are not so valuable.
In chapter two, Almansi and Henderson contradict their own approach, first by offering value judgments p. What bed you sleep in? Now look here— MICK. That one.
Not the other one? How do you like my room? Your room? Actually he lived in Aldgate. I was staying with a cousin in Camden Town. This chap, he used to have a pitch in Finsbury Park, just by the bus depot. When I got to know him I found out he was brought up in Putney. I know quite a few people who were born in Putney. His old mum was still living at the Angel. All the buses passed right by the door. She could get a 38, , 30 or 38A, take her down the Essex Road to Dalston Junction in next to no time.
I used to leave my bike in her garden on my way to work. Yes, it was a curious affair. Dead spit of you he was. Did you sleep here last night? Did you have to get up in the night?
Now look here! A violent bellow from MICK sends him back. A shout. Sleep here last night? I slept— MICK. Now look— MICK. What bed? That— MICK. Not the other? Again amiable. What sort of sleep did you have in that bed?
All right! MICK stands, and moves to him. You a foreigner? Born and bred in the British Isles? I was! What did they teach you? How did you like my bed? From the bed? No, now, up your arse. MICK turns swiftly and grabs them. MICK holds out a hand warningty. You intending to settle down here? Give me my trousers then. You settling down for a long stay? Give me my bloody trousers! Why, where you going? I was brought here! Brought here?
Who brought you here?
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Man who lives here … he. I was brought here, last night … met him in a caff … I was working … I got the bullet … I was working there … bloke saved me from a punch up, brought me here, brought me right here. This is my room. What about that, then?
MICK moving to him. Keep your hands off my old mum. Well, stop telling me all these ibs. Now listen to me, I never seen you before, have I? Never seen my mother before either, I suppose? Listen, son. Listen, sonny.
You stink. You got no business wandering about in an unfurnished lat. I could charge seven quid a week for this if I wanted to. Get a taker tomorrow. Three hundred and ifty a year exclusive. No argument. Rateable value ninety quid for the annum. You can reckon water, heating and lighting at close on ifty. What do you say? Bathroom, living-room, bedroom and nursery.
Harold Pinter Plays
You can have this as your study. Yes, just about to start. So what do you say? Eight hundred odd for this room or three thousand down for the whole upper storey.
No strings attached, open and above board, untarnished record; twenty per cent interest, ifty per cent deposit; down payments, back payments, family allowances, bonus schemes, remission of term for good behaviour, six months lease, yearly examination of the relevant archives, tea laid on, disposal of shares, beneit extension, compensation on cessation, comprehensive indemnity against Riot, Civil Commotion, Labour Disturbances, Storm, Tempest, Thunderbolt, Larceny or Cattle all subject to a daily check and double check.
Who do you bank with? ASTON comes in. MICK turns and drops the trousers. ASTON, after a glance at the other two, goes to his bed, places a bag which he is carrying on it, sits down and resumes ixing the toaster. MICK sits in the chair. They all look up. You still got that leak. From the roof, eh? The cracks. What do you do—? They both look at him.
Empty it. I was telling my friend you were about to start decorating the other rooms. I got your bag. Crossing to him and taking it.
Oh thanks, mister, thanks. Give it to you, did they? MICK rises and snatches it. MICK warding him off. MICK eluding him. ASTON rising, to them. Scrub it. This your bag? Give me it!
Give it to him. Give him what? That bloody bag! MICK slipping it behind the gas stove. What bag? Look here! MICK facing him. Where you going? Watch your step, sonny! You come busting into a private house, laying your hands on anything you can lay your hands on.
ASTON picks up the bag. MICK grabs it. ASTON takes it. MICK reaches for it. MICK takes it. He drops it. They watch him. He picks it up. Goes to his bed, and sits. ASTON goes to his bed, sits, and begins to roll a cigarette.
MICK stands still. How did you get on at Wembley? MICK goes to the door and exits. I had a bit of bad luck with that jig saw. When I got there it had gone. Who was that feller? Is he? Yes, I noticed. Yes, he tends … he tends to see the funny side of things. Yes, you could tell that.
I could tell the irst time I saw him he had his own way of looking at things. Make a lat out of it. What does he do, then? Perhaps I can knock up one or two things for it. He walks to the window. I can work with my hands, you see. I never knew I could. But I can do all sorts of things now, with my hands. You know, manual things. I … could do a bit of woodwork.
Simple woodwork, to start Working with … good wood. They break up a room with them. Make it into two parts. I could either do that or I could have a partition. I could knock them up, you see, if I had a workshop. Eh, look here, I been thinking. My bag, it was another kind of bag altogether, you see. What they done, they kept my bag, and they given you another one altogether. No … what happened was, someone had gone off with your bag.
Anyway, I picked that bag up somewhere else. He let me have the whole lot cheap. Any shoes? He holds them up. Yes … well, I know about these sort of shirts, you see.
No, what I need, is a kind of a shirt with stripes, a good solid shirt, with stripes going down. He takes from the bag a deep-red velvet smoking-jacket. A smoking-jacket? He feels it. He tries it on. How do you think it looks? Looks all right. ASTON picks up the plug and examines it. You could be … caretaker here, if you liked. You could … look after the place, if you liked … you know, the stairs and the landing, the front steps, keep an eye on it Polish the bells.
Caretaking, eh? Well, I … I never done caretaking before, you know … I mean to say … I never … what I mean to say is … I never been a caretaker before. How do you feel about being one, then? What sort of. Yes, what sort of … you know. Well, I mean. Well, I could tell you. When the time comes. More or less exactly what you. You could wear this, if you liked. Well off. Thanks very much, mister. And you could answer any queries.
Why not? I got to be a bit careful. Why, someone after you? After me? I could be buggered as easy as that, man. Sound of a key in the door of the room. He switches on and off. He moves, stumbles. Give me a light. Wait a minute. He feels for matches in his pocket, takes out a box and lights one. The match goes out. The box falls. Where is it? The box is kicked. He moves. It was down here.
Come on. I got a knife here. Come on then, who are you? He moves, stumbles, falls and cries out. He gets up. He stands. Heavy breathing. Suddenly the electrolux starts to hum. A igure moves with it, guiding it.
Get away-y-y-y-y! The electrolux stops. The igure takes out the electrolux plug from the light socket and its the bulb. The light goes on. MICK stands on the bed, holding the plug. I was just doing some spring cleaning. He gets down. There used to be a wall plug for this electrolux. I had to it it in the light socket.
How do you think the place is looking? I gave it a good going over. We take it in turns, once a fortnight, my brother and me, to give the place a thorough going over. I was working late tonight, I only just got here. As a matter of fact I live somewhere else. What are you waving that about for? You come near me.
But I had you in mind too, you know. How long you thinking of staying here, by the way? I keep myself to myself, mate. But if anyone starts with me though, they know what they got coming.
I can believe that. You do. I been all over, see? You understand my meaning? I get what you mean, yes.
HAROLD PINTER ' S PORTRAYAL OF WOMAN IN " THE HOMECOMING "
I can be pushed so far … but. No further. MICK sits an junk dawn right. Yes, I know. I think we understand one another. You been playing me about, you know. I never done you no harm. No, you know what it was?
Ay, we did. Like a sandwich? MICK taking a sandwich from his pocket. Have one of these. Take one.
No thanks. He munches the sandwich. MICK feeling in his pocket. I forgot the pepper. I had a bit of beetroot somewhere. Must have mislaid it. MICK watches him eat.
He then rises and strolls downstage. Uuh … listen … can I ask your advice? Can I ask your advice about something? You go right ahead. Your brother? Yes … you see, his trouble is.
Go on now, you say it. MICK looks at him. Go on! Is that a fact? Very shy of it. I know that sort. You know the type? I mean, I want to get him going in the world.
Stands to reason, man. If you got an older brother you want to push him on, you want to see him make his way. Work shy. Sounds like it to me. Causing me great anxiety. What would your advice be? MICK stares at him. Not liking work. Cut it! I got a proposition to make to you. I think it could be run a bit more eficiently. I got a lot of ideas, a lot of plans. How would you like to stay on here, as caretaker?
I could rely on a man like you around the place, keeping an eye on things. I am a capable sort of man. No one messes me about, man.
The what? You been in the services. You can tell by your stance. Oh … yes. Spent half my life there, man. Over seas … like … serving … I was. I was over there.
I was one of the irst over there. I got deeds to prove it. Ah … Decisively. I leave you to reckon that out, like. Can you give me any references? Just to satisfy my solicitor. I got plenty of references. All I got to do is to go down to Sidcup tomorrow. I got all the references I want down there. I know that place like the back of my hand.
So we can always get hold of these references if we want them. I got a bad need for a good pair of shoes. ASTON is pulling on his trousers over long underwear. A slight grimace. He looks around at the head of his bed, takes a towel from the rail and waves it about.
You said you wanted me to get you up. You said you were thinking of going to Sidcup. I slept terrible. You were making. Just a bit. He goes to his bed, picks up a small plank and begins to sandpaper it. Thought so. Come in on my head. You could. Well then, what about it, then?
Got to have a bit of air. He is wearing his trousers, waistcoat and vest. Gets very stuffy in here without that window open.
ASTON crosses to the chair, puts the plank on it, and continues sandpapering. That bloody rain, man, come right in on my head. Spoils my sleep. I could catch my death of cold with it, with that draught. Yes, but what about me? What … what you got to say about my position? Sleep with your feet to the window.
What good would that do? I mean, I got used to sleeping this way. Look at it. I got talking to a man there.
He had a saw bench. It looked in pretty good condition to me. Have a walk down there, I think. Listen to that. Eh, what about closing that window now? Close it for the time being. To build my shed. There may be, mate. The fade-down of the light must be as gradual, as protracted and as unobtrusive as possible. I used to go there quite a bit.Not the other one? He must have tarred it over up there.
Another aspect of Pinter's plays is existentialism. Skip to main content. MICK is lying on the loor, down left, his head resting on the rolled carpet, looking up at the ceiling.
McCann: He's killed his wife! He looks around at the head of his bed, takes a towel from the rail and waves it about. Yes, I was pleased when I got hold of this one. Man is depicted by Pinter in real situations and at the moment of misery.
They both look at him.
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