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Zusatztext The Oxford English Dictionary records the use of the adjective Pinteresque as early as 1960, when only three years after his dramatic debut Harold Pinter was already being monumentalized. Against the myth of the sui generis artist, this book offers a competing view. Surveying the landscape of Pinter’s idols, peers, and heirs – and of the global networks, cultural institutions, and material practices that made him – Chiasson, Fallow and their collaborators reveal the fertile soil in which a legacy could take root. Informationen zum Autor Basil Chiasson is an Assistant Professor in the Faculty of Information and Media Studies and the Creative Arts Program at Western University, Canada. His publications on Harold Pinter include articles, book chapters, book reviews and one monograph, The Late Harold Pinter: Political Dramatist, Poet and Activist (2017). Other research and publications include articles and book chapters on neoliberalism and performance in contemporary British drama. From 2017 to 2019 he was a Research Fellow on the Arts and Humanities Research Council-funded project, Harold Pinter: Histories and Legacies, where he worked on an open-access database which captures the British production history of Pinter’s works for stage, screen and radio. Catriona Fallow teaches in the Department of Drama at Queen Mary University of London, UK. Between 2017 to 2019 she was a Research Fellow on the Arts and Humanities Research Council-funded project, Harold Pinter: Histories and Legacies, based at the University of Birmingham. She is currently contributing to collections on the #MeToo movement ( Performing #MeToo: How Not to Look Away , 2020) and the work of Dennis Kelly (2021). Catriona’s work has been published in Studies in Theatre and Performance and presented at various conferences and symposia nationally and internationally. Vorwort A thematic collection of critical essays on Harold Pinter’s theatrical works published alongside new interviews with contemporary theatre practitioners. Zusammenfassung This important book offers a thematic collection of critical essays, ideal for undergraduate courses on modern British theatre, on Harold Pinter’s theatrical works, alongside new interviews with contemporary theatre practitioners. The life and works of Harold Pinter (1930–2008), a pivotal figure in British theatre, have been widely discussed, debated and celebrated internationally. For over five decades, Pinter’s work traversed and redefined various forms and genres, constantly in dialogue with, and often impacting the work of, other writers, artists and activists. Combining a reconsideration of key Pinter scholarship with new contexts, voices and theoretical approaches, this book opens up fresh insights into the author’s work, politics, collaborations and his enduring status as one of the world’s foremost dramatists. Three sections re-contextualize Pinter as a cultural figure; explore and interrogate his influence on contemporary British playwriting; and offer a series of original interviews with theatre-makers engaging in the staging of Pinter’s work today. Reconsiderations of Pinter’s relationship to literary and theatrical movements such as Modernism and the Theatre of the Absurd; interrogations of the role of class, elitism and religious and cultural identity sit alongside chapters on Pinter’s personal politics, specifically in relation to the Middle East. Inhaltsverzeichnis Part One: (Re)situating Pinter, Critical Orientations 1 Pinter’s Modernism(s) Revisited: A Drama Reliant upon Prose Basil Chiasson (Western University, Canada) 2 The Theatre of the Absurd as Professional Network in Harold Pinter’s Early Career Harry Derbyshire (University of Greenwich, UK) 3 The Elite Pinter and the Pinter Elite James Hudson (University of Linc...
