474:'s golf pro who would cry, in exasperation, 'When I say "Slowly Back" I don't mean "Slowly Back", I mean "Slowly Back." ' At another moment, the bullying pro would tell the hapless Sid to get behind the ball and he would vainly protest 'But it's behind all round it'. But, where in a music-hall sketch this kind of semantic by-play was its own justification, in Pinter it becomes a crucial part of the power-structure. … The pay-off comes when Gus, having dogmatically insisted that the accurate phrase is 'put on the kettle', suddenly finds an irritated Ben adopting the right usage. (91)
112:… in paper hats for a game of blind man's buff"; he suggests how "menace" in Pinter's plays "stands for something more substantial: destiny," and that destiny, "handled in this way—not as an austere exercise in classicism, but as an incurable disease which one forgets about most of the time and whose lethal reminders may take the form of a joke—is an apt dramatic motif for an age of conditioned behaviour in which orthodox man is a willing collaborator in his own destruction" (Wardle, "Comedy of Menace" 33; rpt. in
488:, stands in exact correspondence and relation to the idea" (91). In this example, the central image and central metaphor, the dumbwaiter, while "despatching ever more unlikely orders," serves as "both a visual gag and a metaphor for manipulative authority" (91), and therein lies its menace. When Ben instructs Gus verbally, while practicing their "routine" for killing their next victim, he leaves out the most important line, which instructs Gus to "take out" his "gun" (Pinter,
652:
his "papers" and "sort" himself "out" (113–16, 164), his refrain and excuse for everything (153, 175–79), he might just be able to accomplish Mick's hyperbolic pipe dream and "decorate the attic room out for " (164), leading Mick to accuse Davies of misrepresenting himself as "an experienced first-class professional interior and exterior decorator" (172–74), an absurd conclusion, given the tangible evidence of the down-and-out Davies before Mick (and the audience).
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343:– about two men passing the time in a universe without meaning or purpose. You can see it as a cry of protest against a whimsically cruel God who treats man as His plaything – even the twelve matches that are mysteriously pushed under the door have been invested with religious significance . But it makes much more sense if seen as a play about the dynamics of power and the nature of partnership. Ben and Gus are both victims of some unseen authority
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314:; "But it also applies to Gus, who, troubled by the nature of the mission to realise he is its chosen target; or, indeed to Ben, who, by his total obedience to a higher authority that forces him to eliminate his partner, exposes his own vulnerability" (89). As Gus "dumbly" awaits his fate, he may be a subservient partner who awaits orders from the "senior partner" Ben, but Ben too is subservient to
303:, as it closely resembles it; yet, despite the comedy and the sense of threat growing out of the menace, these works of Pinter and McDonagh are, in Pinter's words to Billington, also "doing something which can be described as political" (92). At the same time, had – and still has – an acute sense of the fragility of earthly happiness and of the terrors that haunt us even from infancy" (92).
791:" appears to dwell on a peculiar past family and sex life (373–74), while the Waiter engages in "interjections" spinning fantasied impossible memories of a grandfather who knew writers, other artists, and various other public figures of multiple decades and geographical locations too far apart to have been experienced personally in one man's lifetime (367, 375).
980:(2006). As Billington observes, this dramatic sketch inspired by Pinter's strong aversion to mobile phones is "very funny", but "as two people trade banalities over their mobile phones there is a hint of something ominous and unspoken behind the clichéd chat" (429), as illustrated in the following excerpt:
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There is always mischief lurking in the darkest corners. The world of The
Caretaker is a bleak one, its characters damaged and lonely. But they are all going to survive. And in their dance to that end they show a frenetic vitality and a wry sense of the ridiculous that balance heartache and laughter.
294:
focuses on two characters, Gus and Ben; Gus is "the man who questions the agreed system and who is ultimately destroyed by his quest for meaning"; Ben, "the man who blindly obeys orders and thereby places himself at risk. (If the system can arbitrarily dispose of his partner, why not of him?)" (92).
162:'comedy of menace' quite a long time ago . I never stuck categories on myself, or on any of us . 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" (Gussow,
161:
are in a very different form. There isn't any menace at all.' " Later, when Gussow 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
651:
The comic aspects of this play multiply, reaching a crescendo in Mick's monologue in Act Two describing his "deepest wishes" for decorating the attic room (161, 173) and falling with Davies, a tramp taken in out of the cold by his brother, suggesting that "if" he can "just get down to Sidcup" to get
181:
caught on and have been prevalent since the late 1950s in advertisements and in critical accounts, notices, and reviews to describe Pinter's early plays and some of his later work as well. As
Merritt points out, among other examples of critics' usage of this and similar categories of Pinter's work,
132:
as he had applied it to Pinter's writing, Pinter himself also occasionally disavowed it and questioned its relevance to his work (as he also did with his own offhand but apt statement that his plays are about "the weasel under the cocktail cabinet"). For example, in
December 1971, in his interview
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and others' accounts of the other two plays, Wardle proposes that "Comedy enables the committed agents and victims of destruction to come on and off duty; to joke about the situation while oiling a revolver; to display absurd or endearing features behind their masks of implacable resolution; to meet
775:
One set (the two couples seated at Table One) consists of brothers
Lambert and Matt and their wives, Prue and Julie, who are sisters; the second set of diners (the couple seated at Table Two) consists of a banker and his young wife, Suki, who comically turns out to have had an affair with Lambert
910:
But when I'm sitting in this restaurant I suddenly find I have no psychopathic tendencies at all. I don't feel like killing everyone in sight, I don't feel like putting a bomb under everyone's arse. I feel something quite different, I have a sense of equilibrium, of harmony, I love my fellow
84:
magazine (1958), Susan Hollis
Merritt points out that in "Comedy of Menace" Wardle "first applies this label to Pinter's work … describ Pinter as one of 'several playwrights who have been tentatively lumped together as the "non-naturalists" or "abstractionists" ' (28)" (Merritt 225). His
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The comedy in this "comedy of menace" often derives from such arguments between Gus and Ben, especially the one that occurs when "Ben tells Gus to go and light the kettle," a "semantic nit-picking that is a standard part of music-hall comedy": "All the great stage and film double acts –
103:', is a writer dogged by one image—the womb" (33). Mentioning the acknowledged "literary influences" on Pinter's work—"Beckett, Kafka and American gangster films"—Wardle argues that " 'The Birthday Party' exemplifies the type of comic menace which gave rise to this article." (225)
686:"Beyond the point" of the comedy (the "funny") lies the scary territory that threatens one's very existence (Billington 92), which Wardle and others commonly have "labeled" or "pigeonholed" (depending on one's perspective) as "menace" (Merritt 9–10).
190:. While still emphasizing Pinter's 'terrors' and the 'shiver beneath the laughter,' Gussow describes the play as 'a play of intrigue, with an underlying motif of betrayal' … Dukore calls the play 'a comedy (of menace or otherwise)' … (Merritt 10).
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seems vaguely menacing: "We need more people like you. Taking responsibility. Taking charge. Keeping the peace. Enforcing the peace. Enforcing peace. We need more like you" (379). This speech stressing "force" (in the repetitions of
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as hilarious ("one of Pinter's funniest plays", according to
Billington ), the nature of the relationships of two sets of diners (three couples) having dinner in an upscale restaurant (which some critics assume that Pinter modeled on
558:
The crucial significance of the omission becomes clear only at the very end of the play, when "Gus enters through the door stage-right – the one marked for the intended victim – stripped of his gun and holster"; it becomes clear that
798:", according to some London reviews)—who describe themselves as "consultants … Strategy consultants. … It means we don't carry guns. … We don't have to! … We're peaceful strategy consultants. … Worldwide. Keeping the peace (379).
682:
Funny, but not too funny. As Pinter wrote, back in 1960: "As far as I am concerned The
Caretaker IS funny, up to a point. Beyond that point, it ceases to be funny, and it is because of that point that I wrote it." (Jones)
125:, stating: "On the strength of 'The Birthday Party' and the pair of one-acters, I rashly applied the phrase 'comedy of menace' to Pinter's writing. I now take it back" ("There's Music" 130, as qtd. in Merritt 225–26).
640:—only the second of Pinter's full-length plays produced by then and the one that launched his career as a successful playwright in 1960 (Merritt 9, 226) —and to Pinter's later plays, scenes in both acts of
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My grandfather introduced me to the mystery of life and I'm still in the middle of it. I can't find the door to get out. My grandfather got out of it. He left it behind him and he didn't look back.
632:, and still less for subsequent plays in which Pinter increasingly exchanged his derelict settings and down-and-out characters for environments of moneyed elegance (657–58). (Qtd. in Merritt 240)
310:, Billington observes, "carries several layers of meaning": "It obviously refers to the antique serving-hatch that despatches ever more grotesque orders for food to these bickering gunmen"—the
44:
928:; but distinctly less polite while living much higher on the hog. One imagines such characters "strategically" plotting the "peaceful" rendition of others without any qualms while sipping
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diners. Now this is very unusual for me. Normally I feel—as I've just said—absoute malice and hatred towards everyone within spitting distance—but here I feel love. How do you explain it?
730:(2000), his last two full-length stage plays, exhibit his characteristic amalgam of the comic and the menacing, a sense of threat or impending doom; there is less comedy and more menace in
322:, manipulating both the mechanical dumbwaiter and them through its increasingly extravagant and thus comically inconvenient "orders" for increasingly exotic dishes, unnerving both of them.
588:
222:
points out that Wardle "once excellently" described its setting (paraphrasing Wardle), as "a banal living-room opens up to the horrors of modern history" (Billington 86).
368:– fall into this kind of verbal worrying in which the bullying 'male' straight man issues instructions which are questioned by the more literal-minded 'female' partner" —
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comically in an ostensibly-trivial wireless conversation, while still suggesting a residual bit of menace in the unsaid, developed as his last revue sketch
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364) – remains characteristically ambiguous; Billington describes one set of couples as "a strangely rootless bunch with a depleted sense of family" (405).
484:
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783:" emits platitudes geared to elevate the nouveaux riches in their own imagined esteem ("I believe the concept of this restaurant rests in that
290:"A near-perfect play about the testiness of a collapsing partnership and the divide-and-rule tactics of authority," according to Billington,
95:
because it is the only play of Pinter's that Wardle had seen at the time, yet he speculates on the basis of "descriptions of other plays, '
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Though "comedy of menace" is generally applied to Pinter's early work of the late 1950s through the middle of the 1960s, including
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1994:
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673:, as well as other works by or featuring him), reminds his audience that Pinter himself said, in a widely quoted statement, that
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and simultaneously planning their next wedding-anniversary dinner celebration (perhaps with a different set of wives) on their
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Despite those more-recent caveats regarding applying the phrase that he himself initially coined for Pinter's writing to
614:], were responsible for the newly coined term 'comedy of menace.' This phrase certainly makes sense when applied to
263:
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470:– ironically a Birmingham comic – who had a famous sketch in which he played a virgin of the greens being hectored by
149:
said that 'couldn't any longer stay in the room with this bunch of people who opened doors and came in and went out.
742:, where heightened comic dialogue outweighs the frightening undercurrents of terror, the terrifying, or the terrible.
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As the Waiter says in his apparently penultimate "interjection", in which one might detect intimations of mortality:
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after Gussow's 1971 "conversation" with Pinter, "Though he echoes Wardle's concept, Gussow seems to avoid using
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129, 146) also epitomise how comedy and menace still co-exist in Pinter's text and on Pinter's stage.
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Look at me. I'm basically a totally disordered personality; some people would describe me as a
482:, Billington observes, "contributes towards a necessary end"; for, "the image, as Pete says in
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in which Mick confronts an unsuspecting Davies and scares him almost speechless (Pinter,
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This being Pinter, the play has a metaphorical openness. You can interpret it as an
60:
50:
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1387:"limited preview". It was reissued again with a new cover after Pinter won the 2005
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See
Merritt 5, 9–10, 225–28, 240, 310, and 326, citing articles by Wardle, Gussow's
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608:. . . . At that time his plays, more than those of any other plawright's [
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287:(mostly his novels ); and black-and-white American movies of the 1940s and 1950s.
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1487:(Index of Harold Pinter's plays; includes dates of composition and productions).
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is only "funny, up to a point" and that "beyond that point" is why he wrote it:
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1268:'s Subscriber Magazine"). Roundabout Theatre Company, Fall 2003. (3 pages.)
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cited by
Merritt, Wardle repeats and updates some of his first perspective on
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In "Comedy of Menace", as
Merritt observes, on the basis of his experience of
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in the text are from this ed. of the play, which is accessible online via
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In discussing the first production of Pinter's first full-length play,
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It's a figure of speech! Light the kettle. It's a figure of speech!
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has been categorised as a "comedy of menace," so may be McDonagh's
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The Official Website of the International Playwright Harold Pinter
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Pinter in Play: Critical Strategies and the Plays of Harold Pinter
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Lambert and Matt reveal themselves to be rather uncouth bullies ("
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600:
Early in his writing career Pinter admitted to three influences:
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1152:, and various performance reviews by Wardle, Gussow, and others.
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If I say go and light the kettle I mean go and light the kettle.
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Lambert and Matt are distantly reminiscent of Gus and Ben from
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when reviewing the CSC Repertory Theatre's 1988 production of
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667:, in 2003 (having previously directed Pinter's 1983 film of
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This kind of comic pedantry has precise echoes of the great
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See Wardle, "Comedy of Menace" 33, as qtd. in Merritt 225.
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877:) occurs after Russell has already revealed his own ilk:
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563:
is going to be "Ben's target" (Billington 92), as Ben's "
1279:. 1990. Rpt. with a new preface. Durham and London:
271:(348–49); Elizabethan and Jacobean dramatists, such as
851:"I said no calls! It's my fucking wedding anniversary!
42:, who borrowed it from the subtitle of Campton's play
72:
pronounced with somewhat of a Judeo-English accent.)
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As the banker Russell interprets their explanation,
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While reviewers and other audience members describe
596:
as he had applied it initially to Pinter's writing:
553:
You've never missed that out before, you know that?
243:closely resembling and markedly influenced by it,
194:Selected examples from Pinter's plays and sketches
655:Pinter's friend the late film and stage director
347:a surrogate married couple quarrelling, testing,
3057:
2132:The Harold Pinter Archive in the British Library
1401:5 (July–Aug. 1958): 39–40. Rpt. in
239:(1960), as accentuated through the 2008 film by
429:Well, that's what you mean, don't you? The gas.
85:article "Comedy of Menace," Merritt continues,
48:, in reviewing Pinter's and Campton's plays in
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952:And I'd like to make one further interjection.
586:In an entry on Pinter for the 1969 edition of
2175:
1506:
1419:New Theatre Voices of the Fifties and Sixties
521:I haven't taken my gun out, according to you.
497:[Ben frowns and presses his forehead]
626:. . . . But 'menace' is hardly the word for
198:
218:(1957), his authorised official biographer
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2168:
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738:predominate; a more comedy than menace in
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1070:Oh you know ... all things considered ...
225:
80:Citing Wardle's original publications in
58:is a jocular play-on-words derived from
1432:5 (Sept. – Oct. 1958): 28–33. Rpt. in
718:(1965), even Pinter's late plays, like
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578:
212:(1958), which followed his first play,
38:. The term was coined by drama critic
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1443:–––. "There's Music in That Room".
1413:, Tom Milne, and Owen Hale. London:
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173:(and Pinter's later qualifications),
1447:7 (July–Aug. 1960): 32–34. Rpt. in
1407:Reader: A Chronicle of the New Drama
806:catchall for warmonger, manager of
45:The Lunatic View: A Comedy of Menace
1471:Harold Pinter § External links
1379:(13). (Parenthetical citations to
1053:I do know. But apart from that ...?
253:cross-talk and the urban thriller:
13:
1242:. Rpt. New York: Limelight, 2004.
1005:I'm terribly well. How about you?
997:Very well. And you? Are you well?
776:when she was 18 (Billington 104).
14:
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1520:
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1078:I know. But apart from that ...?
966:"Apart From That" (Sketch) (2006)
421:What do you mean, I mean the gas?
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659:, who directed the play for the
462:As Billington observes further,
22:is the body of plays written by
1417:, 1965. 76–78. (Reissued as:
734:, in which heavy echoes of the
604:, American gangster films, and
589:The Encyclopedia of World Drama
351:and raking over old times. (90)
169:Despite Wardle's retraction of
1195:Bibliography for Harold Pinter
1188:
1176:
1155:
1045:Apart from ... oh you know ...
1029:Apart from ... oh you know ...
1013:Really well. I'm really well.
565:revolver levelled at the door
318:, a contemporary variation on
54:in 1958. (Campton's subtitle
1:
1995:The French Lieutenant's Woman
1309:20 (Spring/Summer 2006): 5–8.
950:He got that absolutely right.
870:peaceful strategy consultants
545:After you've closed the door.
128:After Wardle's retraction of
75:
1357:: Two Plays by Harold Pinter
1208:. 1996. Rev. ed. London:
855:[He switches it off]
571:Ben fires any shot (Pinter,
505:You've missed something out.
233:In his second one-act play,
7:
1428:–––. "Comedy of Menace".
1091:
839:[He switches it on]
537:After I've closed the door.
449:How can you light a kettle?
10:
3097:
2189:
2137:Harold Pinter and politics
2127:Relationship with academia
1769:Remembrance of Things Past
1468:
1397:. "The Birthday Party".
1266:Roundabout Theatre Company
1192:
1182:quoted in Billington 90–91
956:[He stands still.]
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1900:
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1389:Nobel Prize in Literature
1262:Front & Center Online
1228:Conversations with Pinter
1150:Conversations with Pinter
787:of my childhood" ), the "
164:Conversations with Pinter
2081:The Tragedy of King Lear
2043:The Comfort of Strangers
1477:"Plays by Harold Pinter"
1264:("The Online Version of
1133:
567:", though the play ends
2479:Theatre of ancient Rome
2142:Art, Truth and Politics
1891:The Pres and an Officer
1275:Merritt, Susan Hollis.
349:talking past each other
306:The "punning title" of
3076:Plays by Harold Pinter
1933:The Quiller Memorandum
1305:. "Apart From That".
1086:Sorry. I've lost you.
684:
634:
529:You take your gun out—
476:
353:
257:cross-fertilises with
105:
2686:Theatre of the Absurd
1980:The Proust Screenplay
1258:"Travels with Harold"
1123:Theatre of the Absurd
849:(He listens briefly.)
679:
598:
464:
327:
143:recalled that "After
87:
2661:Shakespearean comedy
2459:Ancient Greek comedy
1794:Trouble in the Works
1359:. 1960. New York:
1351:–––. The Caretaker
1326:The Essential Pinter
960:[Slow fade.]
835:Who the fuck's this?
690:Pinter's later plays
417:(his eyes narrowing)
2051:The Handmaid's Tale
2027:The Heat of the Day
1819:That's Your Trouble
1787:The Black and White
1732:The New World Order
1202:Billington, Michael
800:Strategy consultant
366:Abbott and Costello
273:William Shakespeare
2649:Comédie larmoyante
2644:Sentimental comedy
2639:Restoration comedy
2602:Commedia dell'arte
2474:Corral de comedias
2122:Honours and awards
2073:The Dreaming Child
1973:Langrishe, Go Down
1949:The Birthday Party
1845:Dialogue for Three
1545:The Birthday Party
1457:New Theatre Voices
1438:New Theatre Voices
1314:The Birthday Party
919:It's the ambience.
712:(1965, 1968), and
661:Roundabout Theatre
617:The Birthday Party
316:The Powers That Be
220:Michael Billington
209:The Birthday Party
200:The Birthday Party
188:The Birthday Party
179:comedies of menace
133:with Pinter about
109:The Birthday Party
92:The Birthday Party
3053:
3052:
2831:Musical comedians
2794:
2793:
2592:Comedy of manners
2587:Comedy of humours
2577:Boulevard theatre
2565:
2564:
2469:Comédie-Italienne
2464:Comédie-Française
2431:
2430:
2157:
2156:
1925:The Pumpkin Eater
1780:Dramatic sketches
1725:Mountain Language
1434:The Encore Reader
1377:978-0-8021-5087-5
1346:978-0-8021-4269-6
1297:978-0-8223-1674-9
1218:978-0-571-23476-9
1098:Comedy of manners
816:covert operations
812:counter-terrorism
393:You mean the gas.
325:Billington adds:
114:The Encore Reader
61:comedy of manners
3088:
3043:
3033:
3032:
2980:Self-referential
2597:Comedy of menace
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2160:
2100:Related articles
1879:Press Conference
1717:One for the Road
1709:Victoria Station
1701:A Kind of Alaska
1515:
1508:
1501:
1492:
1491:
1481:HaroldPinter.org
1411:Charles Marowitz
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1146:
814:, or orderer of
789:maîtress d'hôtel
594:comedy of menace
478:"Everything" in
331:Absurdist comedy
184:comedy of menace
175:Comedy of menace
171:comedy of menace
130:comedy of menace
56:Comedy of Menace
20:Comedy of menace
16:Theatrical genre
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2868:Animated sitcom
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2676:Stand-up comedy
2622:One-person show
2612:Improvisational
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2381:Science fiction
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2215:Comedy festival
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2153:
2148:Pinter's People
2117:Characteristics
2095:
1987:The Last Tycoon
1896:
1885:Apart From That
1775:
1553:The Dumb Waiter
1524:
1519:
1473:
1467:
1462:
1381:The Dumb Waiter
1355:The Dumb Waiter
1272:. 9 Oct. 2007.
1232:Nick Hern Books
1210:Faber and Faber
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320:Deus ex machina
308:The Dumb Waiter
297:The Dumb Waiter
292:The Dumb Waiter
241:Martin McDonagh
236:The Dumb Waiter
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1753:Ashes to Ashes
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781:maître d'hôtel
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732:Ashes to Ashes
721:Ashes to Ashes
715:The Homecoming
697:The Collection
691:
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606:Samuel Beckett
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513:I know. What?
472:Jerry Desmonde
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281:Cyril Tourneur
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122:The Caretaker
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47:
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41:
40:Irving Wardle
37:
36:Harold Pinter
33:
32:N. F. Simpson
29:
25:
24:David Campton
21:
2873:Black sitcom
2853:Mockumentary
2761:Opéra bouffe
2729:Café-théâtre
2714:Ballad opera
2632:Harlequinade
2596:
2582:Comedy-drama
2361:Mockumentary
2245:Impersonator
2225:Comic timing
2146:
2112:Bibliography
2087:
2079:
2071:
2063:
2057:
2049:
2041:
2033:
2025:
2019:Turtle Diary
2017:
2009:
2006:(1982, 1983)
2001:
1993:
1985:
1979:
1971:
1963:
1955:
1947:
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1931:
1923:
1915:
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1890:
1884:
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1812:
1807:Request Stop
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1639:The Basement
1637:
1629:
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1613:
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1593:Night School
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1569:The Hothouse
1567:
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1535:
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1448:
1444:
1437:
1433:
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1423:Eyre Methuen
1418:
1406:
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1398:
1385:Google Books
1380:
1356:
1352:
1325:
1321:
1317:
1313:
1306:
1276:
1261:
1254:Jones, David
1227:
1205:
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1028:
1024:
1021:I'm so glad.
1020:
1016:
1012:
1008:
1004:
1000:
996:
992:
989:How are you?
988:
984:
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969:
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955:
947:
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938:
925:
923:
918:
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905:
901:
897:
894:"Am I right?
891:
885:
881:
874:
869:
867:
862:
858:
854:
848:
847:Yes? What?"
846:
842:
838:
834:
830:
825:mobile phone
822:
799:
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785:public house
780:
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637:
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627:
621:
620:. . . or to
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437:(powerfully)
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344:
334:
333:– a kind of
328:
324:
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291:
289:
277:John Webster
262:
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108:
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90:
88:
81:
79:
69:
65:
59:
55:
49:
43:
28:Nigel Dennis
19:
18:
2941:Documentary
2937:(dry humor)
2900:Alternative
2878:Teen sitcom
2771:Opera buffa
2746:Light music
2741:Comedy club
2691:Tragicomedy
2656:Shadow play
1917:The Servant
1901:Screenplays
1761:Celebration
1585:A Night Out
1421:. London:
1361:Grove Press
1330:Grove Press
1322:Celebration
1224:Gussow, Mel
1189:Works cited
804:euphemistic
802:could be a
770:Celebration
756:Celebration
747:Celebration
740:Celebration
727:Celebration
724:(1996) and
657:David Jones
602:Franz Kafka
385:The kettle.
377:Light what?
269:Franz Kafka
264:The Killers
89:centers on
3081:Literature
3060:Categories
2848:Television
2751:Music hall
2696:Vaudeville
2617:Macchietta
2607:Double act
2516:Indonesia
2510:Mo lei tau
2506:Hong Kong
2500:Xiangsheng
2371:Remarriage
2280:Visual gag
2270:Punch line
2265:Prank call
2058:Party Time
1825:That's All
1738:Party Time
1600:The Dwarfs
1230:. London:
1128:Vaudeville
1118:Music hall
1113:Kafkaesque
888:psychopath
827:rings]
796:Teddy boys
485:The Dwarfs
341:Birmingham
312:dumbwaiter
251:music-hall
141:Mel Gussow
76:Background
2995:Slapstick
2920:Christian
2915:Character
2892:Subgenres
2707:and dance
2627:Pantomime
2413:Slapstick
2386:Screwball
2290:Word play
2065:The Trial
1866:Precisely
1851:Umbrellas
1838:Applicant
1831:Interview
1745:Moonlight
1670:Monologue
1663:Old Times
1647:Landscape
1623:Tea Party
1615:The Lover
1363:, 1988.
1332:, 2006.
1283:, 1995.
1212:, 2007.
1108:Grotesque
1103:Film noir
892:(to Suki)
875:Enforcing
808:terrorism
736:Holocaust
709:Tea Party
703:The Lover
492:114–15):
468:Sid Field
401:Who does?
301:In Bruges
259:Hemingway
246:In Bruges
166:18, 24).
152:Landscape
136:Old Times
3035:Category
2970:Physical
2781:Operetta
2555:Sarugaku
2423:Thriller
2315:American
2235:Humorist
2205:Comedian
2003:Betrayal
1941:Accident
1685:Betrayal
1537:The Room
1425:, 1981.)
1234:, 1994.
1092:See also
779:As the "
766:West End
706:(1963),
700:(1961),
670:Betrayal
215:The Room
97:The Room
3007:Surreal
2935:Deadpan
2821:Hip hop
2719:Cabaret
2445:Country
2437:Theatre
2401:Mexican
2396:Italian
2376:Romance
2351:Fantasy
2330:Italian
2320:British
2308:Country
2035:Reunion
2011:Victory
1655:Silence
1459:129–32.
1451:Encore
1415:Methuen
1409:. Ed.
1405:Encore
1371:(10).
1340:(10).
1291:(10).
1281:Duke UP
1037:I know.
934:mobiles
930:Perrier
906:Russell
882:Russell
859:Lambert
843:Lambert
831:Lambert
762:The Ivy
409:You do.
362:Warriss
158:Silence
99:' and '
70:manners
3071:Comedy
3045:Portal
3017:Zombie
3000:Topics
2960:Insult
2955:Horror
2930:Cringe
2863:Sitcom
2826:Parody
2550:Rakugo
2545:Owarai
2540:Manzai
2535:KyĹŤgen
2531:Japan
2525:Ludruk
2520:Lenong
2452:Europe
2418:Stoner
2408:Silent
2366:Parody
2356:Horror
2346:Action
2325:French
2275:Satire
2240:Humour
2198:Topics
2191:Comedy
2092:(2007)
2089:Sleuth
2084:(2000)
2076:(1997)
2068:(1993)
2060:(1992)
2054:(1990)
2046:(1989)
2038:(1989)
2030:(1988)
2022:(1984)
2014:(1982)
1998:(1981)
1990:(1974)
1982:(1972)
1976:(1970)
1968:(1969)
1960:(1970)
1952:(1968)
1944:(1966)
1936:(1965)
1928:(1963)
1920:(1963)
1912:(1963)
1893:(2018)
1887:(2006)
1881:(2002)
1875:(1997)
1869:(1983)
1861:(1969)
1853:(1960)
1847:(1959)
1841:(1959)
1833:(1959)
1827:(1959)
1821:(1959)
1815:(1959)
1809:(1959)
1803:(1959)
1797:(1959)
1789:(1959)
1772:(2000)
1764:(1999)
1756:(1996)
1748:(1993)
1740:(1991)
1734:(1991)
1728:(1988)
1720:(1984)
1712:(1982)
1704:(1982)
1696:(1980)
1688:(1978)
1680:(1974)
1672:(1972)
1666:(1970)
1658:(1968)
1650:(1967)
1642:(1966)
1634:(1964)
1626:(1964)
1618:(1962)
1610:(1961)
1602:(1960)
1596:(1960)
1588:(1959)
1580:(1959)
1572:(1958)
1564:(1958)
1556:(1957)
1548:(1957)
1540:(1957)
1453:Reader
1445:Encore
1440:86–91.
1430:Encore
1399:Encore
1375:
1367:
1344:
1336:
1324:. In
1320:, and
1312:–––.
1295:
1287:
1246:
1238:
1220:(13).
1216:
944:Waiter
749:(2000)
582:(1960)
575:121).
569:before
435:
415:
279:, and
229:(1960)
202:(1958)
82:Encore
68:being
66:menace
51:Encore
34:, and
2985:Shock
2925:Clown
2905:Black
2858:Roast
2843:Radio
2838:Novel
2811:Album
2806:Music
2799:Media
2786:Revue
2705:Music
2570:Genre
2495:China
2339:Genre
2255:Irony
2230:Farce
2107:Works
1858:Night
1529:Plays
1307:Areté
1299:(13).
1134:Notes
863:Cunt.
663:, in
358:Jewel
336:Godot
116:91).
2990:Sick
2975:Prop
2946:High
2910:Blue
2816:Rock
2671:Spex
2488:Asia
2300:Film
2260:Joke
1455:and
1436:and
1373:ISBN
1365:ISBN
1342:ISBN
1334:ISBN
1293:ISBN
1285:ISBN
1244:ISBN
1236:ISBN
1214:ISBN
1082:Gene
1074:Lake
1066:Gene
1057:Lake
1049:Gene
1041:Lake
1033:Gene
1025:Lake
1017:Gene
1009:Lake
1001:Gene
993:Lake
985:Gene
915:Suki
902:Yes.
898:Suki
890:."
360:and
177:and
155:and
2950:low
2391:Sex
2285:Wit
1479:at
1449:The
1403:The
1353:and
1270:Web
1260:.
1256:.
1204:.
1162:Cf.
611:sic
549:Gus
541:Ben
533:Gus
525:Ben
517:Gus
509:Ben
501:Gus
453:Ben
445:Gus
433:Ben
425:Gus
413:Ben
405:Gus
397:Ben
389:Gus
381:Ben
373:Gus
345:and
339:in
261:'s
3062::
2948:/
1483::
1391:.)
1316:,
1226:.
1141:^
1084::
1076::
1068::
1059::
1051::
1043::
1035::
1027::
1019::
1011::
1003::
995::
987::
946::
936:.
917::
908::
900::
884::
861::
845::
833::
818:.
561:he
551::
543::
535::
527::
519::
511::
503::
455::
447::
439::
427::
419::
407::
399::
391::
383::
375::
364:,
275:,
139:,
30:,
26:,
2183:e
2176:t
2169:v
1514:e
1507:t
1500:v
1250:.
64:—
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