Harold Pinter Knihy

Jednosměrné kyvadlo / N. F. Simpson -- Bezva finta / Ann Jellicoe -- Narozeniny / Harold Pinter -- Návrat domů / Harold Pinter. Čtyři hry tří anglických autorů, které mají ve společném vydání sloužit jako příspěvek systematického poznání absurdního divadla, zvaného též černé divadlo, také černé drama. resp. antidrama. Jde většinou o grotesky krutosti s paradoxní logikou, jejichž „zdravý smysl je v nesmyslu“. Doslov František Vrba.

Divadelní hra, vrcholné dílo anglického dramatika, uznávaného za typického a významného představitele tzv. divadla absurdity v Anglii. Hra vyvolala pozornost i mimo Anglii a bývá vykládána různě. Český vykladač v ní vidí snahu zobrazit "marný pokus starého, zuboženého tuláka, deklasovanéexistence Daviese uchytit, zajistit, zařadit se ve světě".

NATO’s war on Yugoslavia in the spring of 1999 was unleashed in the name of democracy and human rights. This view was challenged by the world’s three largest countries, India, China and Russia, who saw the bombing of Serbia and Kosovo as a naked attempt to assert US dominance in an unstable world.In the West, media networks were joined by substantial sectors of left/liberal opinion in supporting the war. Nonetheless, a wide variety of figures emerged to challenge the prevailing consensus. Their work, gathered here for the first time, forms a collection of key statements and anti-war writings from some of democracy’s most eloquent dissidents—Noam Chomsky, Harold Pinter, Edward Said and many others—who provide carefully researched examinations of the real motives for the US action, dissections and critiques of the ideology of ‘humanitarian warfare’, and chartings of the unnecessary tragedy of a region laid to waste in the pursuance of Great Power politics.This reader presents some of the most important texts on NATO’s Balkan crusade and forms a major intervention in the debate on global geo-political strategy after the Cold War.

A unique testimony to modern literature's most celebrated and enduring marriage.

In the early 1970s Harold Pinter joined forces with director Joseph Losey and Proust scholar Barbara Bray to develop a screenplay of Proust's masterpiece, Remembrance of Things Past. Pinter took more than a year to conceive and write the screenplay and called the experience "the best working year of my life." Although never produced, Harold Pinter's The Proust Screenplay is considered one of the greatest adaptations for the cinema ever written.With fidelity to Proust's text, the screenplay is an extraordinary re-creation by one of the leading playwrights of our time. It is, in its way, a unique collaboration between two extraordinary writers united across more than half a century and two different cultures by a special concern for time and memory.

This volume contains the plays Harold Pinter wrote during the 1970s and 1980s: Old Times, No Man's Land, Betrayal, One for the Road, and Mountain Language. Also included is the one-act triple-bill Other Places, composed of Family Voices, A Kind of Alaska, and Victoria Station.

This volume contains Harold Pinter's first six plays, including The Birthday Party. The Birthday Party Stanley Webber is visited in his boarding house by two strangers, Goldberg and McCann. An innocent-seeming birthday party for Stanley turns into a nightmare. 'Mr Pinter's terrifying blend of pathos and hatred fuses unforgettably into the stuff of art.' Sunday Times The Room and The Dumb Waiter In these two early one-act plays, Harold Pinter reveals himself as already in full control of his unique ability to make dramatic poetry of the banalities of everyday speech and the precision with which it defines character. 'Harold Pinter is the most original writer to have emerged from the new wave of dramatists who gave fresh life to the British theatre in the fifties and early sixties.' The Times The Hothouse The Hothouse was first produced in 1980, though Harold Pinter wrote the play in 1958, just before commencing work on The Caretaker. In this compelling study of bureaucratic power, we can see the full emergence of a great and original dramatic talent. 'The Hothouse is at once sinister and hilarious, suggesting an unholy alliance of Kafka and Feydeau.' Spectator