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Harold Pinter
| Harold Pinter | |
|---|---|
| Born | 10 October 1930(1930-10-10) Hackney, London, England |
| Died | 24 December 2008 (aged 78) West London, England |
| Occupation | Playwright, screenwriter, actor, director, poet, author, political activist |
| Nationality | British |
| Citizenship | British |
| Alma mater | Hackney Downs School (1944–1948) |
| Writing period | 1950–2008 |
| Genres | Drama, film, poetry, fiction, essay |
| Notable work(s) | The Birthday Party, The Caretaker, The Homecoming, Betrayal The Servant, The Go-Between, The French Lieutenant's Woman, The Trial, Sleuth Art, Truth and Politics |
| Notable award(s) | David Cohen Prize (1995) Laurence Olivier Award (1996) Companion of Honour (2002) Nobel Prize in Literature (2005) Légion d'honneur (2007) |
| Spouse(s) | Antonia Fraser (1980–2008) Vivien Merchant (1956–1980) |
| Children | six stepchildren with Fraser one son with Merchant |
Influences | |
Influenced | |
| Official website | |
 Literature portal | |
Harold Pinter, CH, CBE (10 October 1930 – 24 December 2008), an English playwright, screenwriter, actor, director, poet, author, political activist, and the 2005 Nobel Laureate in Literature, is considered by many "the most influential and imitated dramatist of his generation."[1]
After publishing poetry as a teenager and acting in school plays, Pinter began his theatrical career in the mid-1950s as a repertory actor using the stage name David Baron. Beginning with his first play, The Room (1957), Pinter's writing career spanned over half a century and produced 29 stage plays; 26 screenplays; many dramatic sketches, radio and TV plays; poetry; one novel; short fiction; and essays, speeches, and letters—many of whose manuscripts are owned and catalogued by the British Library. His best-known works include The Birthday Party (1957), The Caretaker (1959), The Homecoming (1964), and Betrayal (1978), each of which he adapted to film, and his screenplay adaptations of others' works, such as The Servant (1963), The Go-Between (1970), The French Lieutenant's Woman (1981), The Trial (1993), and Sleuth (2007). He directed almost 50 stage, television, and film productions.[2] Despite frail health since being diagnosed with oesophageal cancer late in 2001,[1] he continued to act on stage and screen, performing the title role in a critically-acclaimed production of Samuel Beckett's one-act monologue Krapp's Last Tape for the 50th anniversary season of the Royal Court Theatre, in October 2006.
Pinter's dramas often involve strong conflicts among ambivalent characters who struggle for verbal and territorial dominance and for their own versions of the past; stylistically, these works are marked by theatrical pauses and silences, comedic timing, irony, and menace.[3] Thematically ambiguous, they raise complex issues of individual identity oppressed by social forces, language, and vicissitudes of memory.[4] Although Pinter publicly eschewed applying the term "political theatre" to his own work in 1981, he began writing overtly political plays in the mid-1980s, reflecting his own heightening political interests and changes in his personal life.[5] This "new direction" in his work and his left-wing political activism stimulated additional critical debate about Pinter's politics.[5] Pinter, his work, and his politics have been the subject of voluminous critical commentary.[3]
In addition to the Nobel Prize in Literature and the French Légion d'honneur, Pinter received 20 honorary degrees and numerous other prizes and awards. Academic institutions and performing arts organizations have devoted symposia, festivals, and celebrations to him and his work, in recognition of his cultural influence and achievements across genres and media. In awarding Pinter's Nobel Prize, instigating some public controversy and criticism, the Swedish Academy cited him for being "generally regarded as the foremost representative of British drama in the second half of the 20th century" and noted: "That he 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' "[6]—a word he detested and found meaningless.[7] Two weeks after withdrawing from the honorary degree ceremony at the Central School of Speech and Drama due to illness and receiving it in absentia,[8] he died from cancer and was buried the following week at Kensal Green Cemetery, in North West London.[9]
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