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The Birthday Party Analysis

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CHAPTER-1
COMEDY OF MENACE: FORMS OF REPRESENTATION
When Pinter’s first professionally produced play, The Birthday Party was staged in London in 1958, it faced such severe criticism from reviewers and critics that the play was taken off stage after a week’s run. The reviewers rejected the play on grounds that it was obscure, baffling and enigmatic. Darlington, a critic of the Daily Telegraph remarked, “it turned out to be one of those plays in which an author wallows in symbols and revels in obscurity” (20 May 1958). An anonymous Times critic wrote, “Mr. Harold Pinter’s effects are neither comic nor terrifying: they are never more than puzzling and after a little while we tend to give up the puzzle in despair” (20 May 1958). M. W. W in the Manchester Guardian commented, “…although the author must have explained his play to the cast, he gives no clues to the audience . . . What [it all] means, only Mr. Pinter knows, for as his characters speak in non sequiturs, half-gibberish and lunatic ravings, they are unable to explain their actions, thoughts or feelings” (May 21, 1958). On receiving such negative reviews of the play, Pinter was so disheartened that he almost decided to stop writing plays. His career as a playwright could have ended there, had there not been his loyal wife and friends to support and encourage him to write and the lone favourable review of the play by drama critic, Harold Hobson1, in the Sunday Times. Pinter himself admits this to Michael Billington,
The

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