Angol
To celebrate his sixtieth year, an international group of scholars and theatre artists gathered in 1991 to assess the achievement of British playwright and screenwriter, Harold Pinter. These eighteen essays represent the current state of Pinter criticism and an affirmation of Pinter's preeminence in contemporary British theatre. Contents include: Pinter in Rehearsal: From The Birthday Party to Mountain Language, by Carey Perloff; Producing Pinter, by Louis Marks; Harold Pinter's Theatre of Cruelty, by Martin Esslin; Harold Pinter's The Hothouse: A Parable of the Holocaust, by Rosette C. Lamont; Disjuncture as Theatrical and Postmodern Practice in Griselda Gambaro's The Camp and Harold Pinter's Mountain Language, by Jeanne Colleran; The Outsider in Pinter and Havel, by Susan Hollis Merritt; The Betrayal of Facts: Pinter and Duras beyond Adaptation, by Judith Roof; Image and Attention in Harold Pinter, by Alice Rayner; Pinter and the Ethos of Minimalism, by Jon Erickson; Chekhov, beckett, Pinter: The St(r)ain upon the Silence, by Alice N. Bentson; "That first last look ..., " by Martha Fehsenfeld; A Rose by any other name: Pinter and Shakespeare, by Hersh Zeifman; From Novel to Film: Harold Pinter's Adaptation of The Trial, by Francis Gillen. "I am powerful ...and I am only the lowest doorkeeper": Power Play in Kafka's The Trial and Pinter's Victoria Station, by John L. Kundert-Gibbs; Art Objects as Metaphors in the Filmscripts of Harold Pinter, by Steven H. Gale; Pinter and Bowen: The Heat of the Day, by Phyllis R. Randall; Portrait of Deborah: A Kind of Alaska, by Moonyoung C. Ham; and Deborah's Homecoming in A Kind of Alaska: Afterword, by Katherine H. Burkman.
