Harold Pinter
Harold Pinter
Harold Pinter CH CBEwas a Nobel Prize-winning English playwright, screenwriter, director and actor. One of the most influential modern British dramatists, his writing career spanned more than 50 years. His best-known plays include The Birthday Party, The Homecoming, and Betrayal, each of which he adapted for the screen. His screenplay adaptations of others' works include The Servant, The Go-Between, The French Lieutenant's Woman, The Trial, and Sleuth. He also directed or acted in radio, stage, television, and film productions of...
NationalityEnglish
ProfessionPlaywright
Date of Birth10 October 1930
The general thrust these days is: "Oh, come on, it's all in the past, nobody's interested any more, it didn't work, everyone knows what the Americans are like, but stop being naive, this is the world, there's nothing to be done about it and anyway fu
It is indeed, ... But to get the oil from the Caspian Sea into the hands of the West you can't use buckets. You need pipelines and those pipelines have to be installed and protected. The oil reserves in the Caspian Sea are vast. The pipelines mean that security in the Balkans is of concrete economic and strategic importance.
I have written 29 plays and I think that's really enough,
I think we communicate only too well, in our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rearguard attempts to keep ourselves to ourselves. Communication is too alarming. To enter into someone else's life is too frightening. To disclose to others the poverty within us is too fearsome a possibility.
Watching first nights, though I've seen quite a few by now, is never any better. It's a nerve-racking experience. It's not a question of whether the play goes well or badly. It's not the audience reaction, it's my reaction. I'm rather hostile toward audiences—I don't much care for large bodies of people collected together. Everyone knows that audiences vary enormously; it's a mistake to care too much about them. The thing one should be concerned with is whether the performance has expressed what one set out to express in writing the play. It sometimes does.
When you lead a life of scholarship you can't be bothered with the humorous realities, you know, tits, that kind of thing.
How can the unknown merit reverence?
It's so easy for propaganda to work, and dissent to be mocked.