Harold Pinter The Caretaker Analysis

Our play uses variety of styles, mainly Brecht’s epic theatre as our play depicts political message. Our play is structured as montage as it shows different stages of George’s life in a non-chronological order, we effectively did this

The audience is able to instantly understand what is happening in a scene and how it impacts on what has happened and what is occurring in present time. The play uses its style perfectly with its use of extended dialogue to convey meaning and tell the story. The audience can get lost in its story as there are no confusing abstract themes to throw them, everything the story is about is laid out before them and this helps with understanding the dramatic meaning as the dramatic meaning is very serious and realistic, just like the storytelling style.

This phenomenon was replicated at the University of Michigan’s SMTD performance of The Resistible Rise of Arturo Ui, written by Bertolt Brecht. This play told the story of the rise of gangster Arturo Ui and the corruption of the cauliflower business in order to satirize the rise of Hitler. Despite this being a play, rather than a musical, the use of Copland’s “planes of listening” still apply. Theater-goers can still view the work with different approaches- either purely surface level, meaning-driven, or technical, like the “planes of listening Copland describes.

11. Point out some moments in the play when the playwright conveys much to the audience without dialogue

Theatre is a complex art that attempts to weave stories of varying degrees of intricacies with the hope that feelings will be elicited from the audience. Samuel Beckett’s most famous work in the theatre world, however, is Waiting for Godot, the play in which, according to well-known Irish critic Vivian Mercier, “nothing happens, twice.” Beckett pioneered many different levels of groundbreaking and avant-garde theatre and had a large influence on the section of the modern idea of presentational theatre as opposed to the representational. His career seemingly marks the end of modernism in theatre and the creation of what is known as the “Theatre of the Absurd.”

The term metatheatre is used to refer to any instance in which a play draws attention to itself as a play, rather than pretending to be a representation of “reality.” Various uses of metatheatrical devices can be found in the works of William Shakespeare. One of Shakespeare’s favorite such devices is the “play-within-a-play.” With this device, the theatre audience finds itself watching an audience (on stage) watching a play. The play-within-a-play is thus a self-reflexive device that addresses the question of where audience reality ends and theatrical illusion begins. Shakespeare often incorporated the device as an integral part of his plots. A famous example can

Leigh’s statement that ‘The edge of the stage is not an invisible boundary over which the actor must never step but a garden wall across which the actor gossips and flirts with the public as if they were neighbours’ seems to have captured the very essence of audience acknowledgement that is so present in the play Pseudolus. Neither cast nor script of this comedy by Plautus seems particularly bothered by any notion of the fourth wall, and the play is rife with both blatant and subtle character acknowledgement of the audience. Indeed the notion that the fourth wall is some sort of impenetrable barrier between performer and audience seems absurd when one examines the aims of theatre and performance as a whole, and Pseudolus circumvents and breaches this supposed barrier with a variety of means

Authors often times use diction, figurative language, and dialogue to convey different ideas that highlight the importance of certain characters and the way they feel. Manipulating language allows an author to give insight into the characters, expand the plot, and amplify the reader’s understanding of the piece as a whole. Edmond Rostand does this very successfully in his play,“Cyrano de Bergerac”. The exchanges between characters allow the story to develop, and put an emphasis on the importance of characters through dialogue. By writing “Cyrano de Bergerac” in the form of a play, Edmond Rostand successfully employs dialogue to reveal characters’ inner conflicts through how they interact with each other.

It is commonly known that theatre is mostly connected to political or spiritual ideologies. Arthur Miller’s The Crucible, takes a historical fact and turns into a political play based on the Salem witch trials; can the truth be seen in this play? Yes, mostly because of the main historical debate described in the play involving Wiccan cult versus Christianity and it is known to be based on cultural concerns. “The play can be seen as symbolic of the paranoia about communism that pervaded America in the 1950s” . Thus, Miller’s play on the witch trials in Salem originates from the true events however is projected with false pretenses. Aristotle’s Poetics have six elements for theatre and there are surnamed Plot, Characterization, Idea, Language, Music and Spectacle. These elements represent the keys to a theatre performance, however where is the psychology in that? One theatre genre that can be an absolute opposition to Stanislavsky’s perception of theatre is known as the Theatre of the Absurd. The theatre of the absurd does not follow any guidelines concerning the techniques of theatre, which is why it is a good example because absurdity does not have any true or false, it is a bit chaotic and strange at the same time.

The dramaturge explores the inner and outer world of the play and how the use of Design can be appropriate to the plays context and accurately portray the playwright’s intention while still conforming to the conventions and practices of the period.

audience in his play. I will be analysing act one of the play to try

The novel shows us the many difficulties that the homeless must go through during their daily lives. The novel teaches us how the homeless make sacrifices and struggle to survive, which many people don’t

Realism provides only amoral observation, while absurdism rejects even the possibility of debate. (Frances Babbage, Augusto Boal). The cynicism of this remark reflects the aberrant attitude towards absurdism, yet there is truth to it. Theatre of the absurd is an esoteric avant-garde style of theatre based on the principles of existentialism that looks at the world without any assumption of purpose. Existentialism and Theatre of the Absurd became identified with a cultural movement that flourished in Europe in the 1940s and 1950s, after the Second World War. The idea that man starts with nothing and ends with nothing is a common theme amongst most absurd plays. Despite this strange philosophy, Theatre of the

Lord of the Flies is based on the novel “Lord of the Flies”, by William Golding in1954.

The play The Caretaker represents the human misery and exertion that troubled people in the mid-20th century after the World War II. Pinter has deftly depicted the hostile conditions that crippled the human society in the modern period. His play explore the