Characteristics of Harold Pinter's work

Characteristics of Harold Pinter's work identifies distinctive aspects of the works of the British playwright Harold Pinter (1930–2008) and gives an indication of their influence on Anglo-American culture.For some further perspectives, written after Pinter's death (24 Dec 2008), see the articles by Dorfman and Edgar and the ''Guardian'' editorial, along with others listed in Bibliography for Harold Pinter#Obituaries and related articles.

Characteristics of Pinter's work

Pinteresque

"That Harold Pinter occupies a position as a modern classic is illustrated by his name entering the language as an adjective used to describe a particular atmosphere and environment in drama: 'Pinteresque' "–placing him in the company of authors considered unique or influential enough to elicit eponymous adjectives."Biobibliographical Notes"
in "Bio-bibliography" for Harold Pinter, by The Swedish Academy, ''The Nobel Prize in Literature 2005'', The Nobel Foundation, ''NobelPrize.org'', Oct. 2005, precede a "Bibliography" of selected publications (mostly in English but also including some in French, German, and Swedish), compiled by the Swedish Academy. (These notes include the full Nobel Prize "Citation".) Susan Harris Smith observes: The ''Online OED'' (2006) defines ''Pinteresque'' more explicitly: "Resembling or characteristic of his plays. … Pinter's plays are typically characterized by implications of threat and strong feeling produced through colloquial language, apparent triviality, and long pauses." The Swedish Academy defines characteristics of the ''Pinteresque'' in greater detail: Over the years Pinter himself has "always been very dismissive when people have talked about languages and silences and situations as being 'Pinteresque'," observes Kirsty Wark in their interview on ''Newsnight Review'' broadcast on 23 June 2006; she wonders, "Will you finally acknowledge there is such a thing as a 'Pinteresque' moment?" "No," Pinter replies, "I've no idea what it means. Never have. I really don't.… I can detect where a thing is 'Kafkaesque' or 'Chekhovian' ark's examples" but with respect to the "Pinteresque", he says, "I can't define what it is myself. You use the term 'menace' and so on. I have no explanation of any of that really. What I write is what I write."

Comedy of menace

Once asked what his plays are about, Pinter lobbed back a phrase "the weasel under the cocktail cabinet", which he regrets has been taken seriously and applied in popular criticism: Despite Pinter's protestations to the contrary, many reviewers and other critics consider the remark, though facetious, an apt description of his plays. For although Pinter repudiated it, it does contain an important clue about his relationship to English dramatic tradition (Sofer 29); "Mr. Pinter … is celebrated for what the critic Irving Wardle has called 'the comedy of menace' " (Brantley, "Harold Pinter"; cf. "A Master of Menace" ultimedia presentation.

In December 1971, in his interview with Pinter about ''Old Times'', Mel Gussow recalled that "After ''The Homecoming'' intersaid that e'couldn't any longer stay in the room with this bunch of people who opened doors and came in and went out. '' Landscape'' and ''Silence'' he two short poetic memory plays that were written between ''The Homecoming'' and ''Old Times''are in a very different form. There isn't any menace at all.' " Later, when he asked Pinter to expand on his view that he had "tired" of "menace", Pinter added: "when I said that I was tired of menace, I was using a word that I didn't coin. I never thought of menace myself. It was called 'comedy of menace' quite a long time ago. I never stuck categories on myself, or on any of us laywrights But if what I understand the word menace to mean is certain elements that I have employed in the past in the shape of a particular play, then I don't think it's worthy of much more exploration."Qtd. in Gussow, ''Conversations with Pinter'' 18, 24.

Two silences

The "Pinter Silence"

Among the most-commonly cited of Pinter's comments on his own work are his remarks about two kinds of silence ("two silences"), including his objections to "that tired, grimy phrase 'failure of communication'," as defined in his speech to the National Student Drama Festival in Bristol in 1962, incorporated in his published version of the speech entitled "Writing for the Theatre":

In his "Presentation Speech" of the 2005 Nobel Prize in Literature to Harold Pinter, in absentia, Swedish writer Per Wästberg, Member of the Swedish Academy and Chairman of its Nobel Committee, observes: "The abyss under chat, the unwillingness to communicate other than superficially, the need to rule and mislead, the suffocating sensation of accidents bubbling under the quotidian, the nervous perception that a dangerous story has been censored – all this vibrates through Pinter's drama."

The "Pinter Pause"

One of the "two silences"–when Pinter's stage directions indicate ''pause'' and ''silence'' when his characters are not speaking at all–has become a "trademark" of Pinter's dialogue called the "Pinter pause": "During the 1960s, Pinter became famous–nay, notorious–for his trademark: 'The Pinter pause' " (Filichia). Actors and directors often find Pinter's "pauses and silences" to be daunting elements of performing his plays, leading to much discussion of them in theatrical and dramatic criticism, and actors who have worked with Pinter in rehearsals have "reported that he regretted ever starting to write 'Pause' as a stage direction, because it often leads to portentous overacting" (Jacobson). Speaking about their experiences of working with Pinter in rehearsing director Carey Perloff's 1989 double bill of '' The Birthday Party'' and '' Mountain Language'' (for Classic Stage Company), American actors David Strathairn and Peter Riegert agreed with Jean Stapleton that "Pinter's comments … 'freed' the cast from feeling reverential about his pauses," and, while Strathairn "believes pauses can be overdone," he also "thinks Pinter's are distinctive: 'The natural ones always seem to be right where he wrote them. His pause or beat comes naturally in the rhythm of the conversation. s an actor, youfind yourself pausing in mid-sentence, thinking about what you just said or are going to say.…' " Perloff said: "He didn't want them weighted that much. … He kept laughing that everybody made such a big deal about it.' He wanted them honored, she said, but not as 'these long, heavy, psychological pauses, where people look at each other filled with pregnant meaning' " (Jacobson).

More recently, in an article elliptically headlined "Cut the Pauses … Says Pinter", a London '' Sunday Times'' television program announcement for Harry Burton's documentary film ''Working With Pinter'', Olivia Cole observes that he "made brooding silence into an art form, but after 50 years Harold Pinter has said directors should be free to cut his trademark pauses if they want.…" In ''Working With Pinter'' (shown on British television's ''More 4'' in February 2007), Cole writes, Pinter "says he has been misunderstood. He maintains that while others detected disturbing undertones, he merely intended basic stage directions" in writing "''pause''" and "''silence''". She quotes Pinter's remarks from ''Working With Pinter'':
Exemplifying the frequency and relative duration of pauses in Pinter's plays, Cole observes that "Pinter wrote 140 pauses into his work Betrayal, 149 into The Caretaker and 224 into The Homecoming. The longest are typically 10 seconds."

Pinter's having encouraged actors to "cut" his pauses and silences–with the important qualification "if they don't make any sense" (elided in Cole's headline)–has "bemused directors", according to Cole, who quotes Pinter's longtime friend and director Sir Peter Hall as saying "that it would be a 'failure' for a director or actor to ignore the pauses":

Cole concludes that Hall added, however, that, in ''Working With Pinter'', Pinter "was right to criticise productions in which actors were fetishising their pauses".

Quoting J. Barry Lewis, the director of a recent production of ''Betrayal'', by Palm Beach Dramaworks, Lisa Cohen observes that Pinter has "even entered popular culture with what is called 'the Pinter pause,' a term that describes … those silent moments 'filled with unspoken dialogue' that occur throughout his plays."Beau Higgins, i
"A Pinter Play – 'Betrayal'"
''broadwayworld.com'', Mar. 2007, accessed 6 September 2007, also reviews this production, which opened on 9 March 2007 and ran through 15 April 2007. Three other production revs. appear on the Palm Beach Dramaworks website; in one of them, Jan Sjostrom
"Dramaworks Stays True to Fine 'Betrayal'"
''Palm Beach Daily News'', 19 March 2007, accessed 6 September 2007, states: "The show is impeccably directed by J. Barry Lewis, who ensures that no scene is overplayed and every unspoken nuance is communicated. And there are plenty of nuances in this play. In fact, what's left unsaid is as important as the dialogue."

Some examples of Pinter's influence on Anglo-American popular culture

Allusions to "the Pinteresque" and to specific characteristics of Pinter's works and, more recently, to his politics pervade Anglo-American popular culture (''OED''; Susan Harris Smith; mass media accounts, as cited above). The Modern Language Association annual convention has already hosted two linked programs on "Pinter's Influence and Influences" and hosted another one relating to this subject in 2007 (Merritt, "Harold Pinter Bibliography: 2000–2002"; "Pinter Society Events", Harold Pinter Society website).

Exemplifying Pinter's cultural influence for several decades, a line in "The Ladies Who Lunch", a song in '' Company'', the 1970 Broadway musical by George Furth and Stephen Sondheim, alludes to Manhattanite "ladies who lunch" taking in "a Pinter play", "fashionable" at that time (Merritt, ''Pinter in Play'' 217).Furth and Sondheim's allusion to "a Pinter play" in "The Ladies Who Lunch" in ''Company'' is repeated by London theatre critic Mark Shenton, in his commentary entitle
"A Matinee, a Pinter Play …"
, ''The Stage'' (Blog), 9 October 2007, accessed 27 January 2009. Shenton segues from this allusion to "a matinee, a Pinter play" into the pleasures of attending afternoon matinees in general. Yet Pinter told John Barber ten years later, in 1980: "'This really is an awful business, this fashion. I must tell you I feel I've been unfashionable all my life. I was oldfashioned from the very beginning, and I'm unfashionable now, really.' "Qtd. in Merritt, ''Pinter in Play'' 3; cf. 217–18 & 278n12.

Episode 164 of the very popular American television series '' Seinfeld'', entitled " The Betrayal" (originally broadcast 27 November 1997), is structured in reverse somewhat like Pinter's play and film ''Betrayal''. Jerry Seinfeld's comic parodic homage to Harold Pinter, the episode features a character named "Pinter". Since the first airing of that ''Seinfeld'' episode and since the subsequent release of films like '' Memento'' and other popular works with reversed chronological structures, some media accounts (such as that in the IMDb) refer to Pinter's plot device in his play and film as a mere "gimmick". But scholars and other critical reviewers consider the reversed structure a fully integrated ingenious stylistic means of heightening multiple kinds of ironies energising ''Betrayals comedic wit, its cumulative poignancy, and its ultimate emotional impact on audiences, and the play has been produced throughout the United States, Britain, and parts of the rest of the world with increasing frequency.See Merritt, "''Betrayal'' in Denver"; cf. Merritt, comp., "Harold Pinter Bibliography" (1987– ).

A character in the fourth episode of the second season of ''Dawson's Creek'', "Tamara's Return" (28 Oct 1998), alludes to Pinter's so-called " sub-textual" use of silence as "a classic 'Pinter' moment". In dialogue between lead character Pacey Witter (played by Joshua Jackson) and Tamara Jacobs ( Leann Hunley), his former English teacher with whom Pacey has had an affair, Tamara tells Pacey that an awkward moment of silence between them is "what we ex-English teachers call a classic 'Pinter' moment, where everything is said in silence because the emotion behind what we really want to say is just too overwhelming. … silence is an acquired taste. The more complicated life becomes the better it is to learn to say nothing." When Pacey inquires "Who is this Pinter guy?" Tamara urges him, "Stay in school." Later Pacey tells Tamara that he has "looked up this Pinter guy. Harold, playwright, the king of subtext. You say one thing, but you mean another," wondering further: "Do you think it's possible for us to have a moment without all the subtext?" "Uh, I don't know, Pacey," Tamara replies. "Words have always gotten us into so much trouble." Pacey and Tamara finally agree that "This Pinter guy was really onto something."A discussion of critical controversies about Pinter's presumed use of "subtext" appears in "Some Other Language Games", chap. 7 in Merritt, ''Pinter in Play'' 137–70.

Further alluding to Pinter's renowned "pauses and silences", the song "Up Against It", from the album '' Bilingual'', by the English electronic music/pop music duo Pet Shop Boys, includes the lines: "Such a cold winter/With scenes as slow as Pinter" (Tennant and Lowe).

Also illustrating the frequent allusions to Pinter's "silences" in commentaries about others' work, in a book review of Nick Hornby's "debut teenage novel" ''Slam'' (Penguin Books

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