Abstract
Harold Pinter
oyunlarını modern toplum içinde kurgular, ve oyunlarına gerçekçi ortam ve doğal
diyalog ile renk katar. Sunuşun gerçekçiliği bir yanılsama doğurarak, modern
varoluşun temelindeki absürtlüğü gölgeler. Sonuçta, karakterleri absürt bir
dünyada kimliklerin yok oluşunu gizlemek için çeşitli yollar kullanır; bunların
en önemlisi anlamın geçiciliğine imkan tanıyan güç iddiasıdır. “Eski Zamanlar”
(1970) da bu eğilimin dışında değildir. Oyunun devinimi karakterler - Kate,
Deeley, Anna - arasındaki güç yarışının şiddetine, ve Kate’in diğer ikisi
üzerindeki zaferine bağlıdır. Sonuç olarak, makale “Eski Zamanlar”’ın, insanın
absürtlüğünden kaynaklanan belirsizlik, güvensizlik ve yalnızlık karşısında
karakterlerin birbiri üzerinde hüküm kurmaya çabaladığı güç yapısı modeli
olarak işlev gördüğünü söylemektedir.
Keywords
References
- Ando, Roberto (2009). “Ritratto di Harold Pinter”, Viva Pinter. Harold Pinter’s Spirit of Resistance, (Editor) Brigitte Gauthier, Peter Lang, Oxford.
- Baker, William (2008). Harold Pinter, Continium, London.
- Batty, Mark (2005). About Pinter: the Playwright and the Work, Faber and Faber, London.
- Bryden, Ronald (1971). “Pinter’s New Pacemaker”, The Observer, 6 June.
- Cave, Richard Allen (2001). “Body Language in Pinter’s Plays”, Harold Pinter, (Editor) Peter Raby, Cambridge University Press, Cambridge.
- Diamond, Elin (1985). Pinter’s Comic Play. Lewisburg Bucknell University Press, London and Toronto. Eliot, Thomas Stearns and Rainey, Lawrence (2006). The Annotated Waste Land with Eliot’s Contemporary Prose, Yale University Press, New Haven.
- Esslin, Martin (1980). The Theatre of the Absurd. Introduction, Penguin, Middle Sex.
- Grimes, Charles (2005). Harold Pinter’s Politics. A Silence Beyond Echo, Fairleigh University Press, Madison and Teaneck.
- Knowles, Ronald (1989). “Harold Pinter, Citizen”, Pinter Review, Vol. 1.
- Naismith, Bill (2000). A Faber Critical Guide to Harold Pinter, Faber and Faber, London.
- Pinter, Harold (1988). Old Times, Methuen Drama, London
- Pinter, Harold (1998). Various Voices: Prose, Poetry, Politics, 1948-1998, Faber and Faber, London
- Pinter, Harold (2006). Art, Truth and Politics. A Nobel Lecture, Faber and Faber, London.
- Rogers, Paul (1973). “An Actor’s Approach: Interview with Paul Rogers”, A Casebook on Harold Pinter’s The Homecoming, (Editors) John Lahr and Anthea Lahr, Davis-Poynter, London.
- Shaw, George Bernard (2010). The Quintessence of Ibsenism, Now Completed to the Death of Ibsen, Constable & Co., Michigan.
- Silverstein, Marc (1993). Harold Pinter and the Language of Cultural Power, Associated University Presses, London and Toronto.
Abstract
Harold
Pinter sets his plays in contemporary society, embellishes them with realistic
settings and natural dialogue. The realism of the presentation serves as a
deception, masking the absurdity underlying modern existence. Consequently,
his characters use various strategies to cover up the loss of identity in the
absurd world, the most prominent of which is the assertion of power that allows
the temporary sense of meaning.
“Old
Times” (1970) is no exception from the pattern. The whole motion of the play
depends upon the vigor of the power contest among its characters - Kate, Deeley
and Anna, as well as Kate’s final triumph over the two. As a result, the paper
argues that “Old Times” serves as a model of power structure, in which
characters attempt to dominate each other in order to counter the uncertainty, insecurity
and loneliness arising from the absurdity of human condition.
Keywords
References
- Ando, Roberto (2009). “Ritratto di Harold Pinter”, Viva Pinter. Harold Pinter’s Spirit of Resistance, (Editor) Brigitte Gauthier, Peter Lang, Oxford.
- Baker, William (2008). Harold Pinter, Continium, London.
- Batty, Mark (2005). About Pinter: the Playwright and the Work, Faber and Faber, London.
- Bryden, Ronald (1971). “Pinter’s New Pacemaker”, The Observer, 6 June.
- Cave, Richard Allen (2001). “Body Language in Pinter’s Plays”, Harold Pinter, (Editor) Peter Raby, Cambridge University Press, Cambridge.
- Diamond, Elin (1985). Pinter’s Comic Play. Lewisburg Bucknell University Press, London and Toronto. Eliot, Thomas Stearns and Rainey, Lawrence (2006). The Annotated Waste Land with Eliot’s Contemporary Prose, Yale University Press, New Haven.
- Esslin, Martin (1980). The Theatre of the Absurd. Introduction, Penguin, Middle Sex.
- Grimes, Charles (2005). Harold Pinter’s Politics. A Silence Beyond Echo, Fairleigh University Press, Madison and Teaneck.
- Knowles, Ronald (1989). “Harold Pinter, Citizen”, Pinter Review, Vol. 1.
- Naismith, Bill (2000). A Faber Critical Guide to Harold Pinter, Faber and Faber, London.
- Pinter, Harold (1988). Old Times, Methuen Drama, London
- Pinter, Harold (1998). Various Voices: Prose, Poetry, Politics, 1948-1998, Faber and Faber, London
- Pinter, Harold (2006). Art, Truth and Politics. A Nobel Lecture, Faber and Faber, London.
- Rogers, Paul (1973). “An Actor’s Approach: Interview with Paul Rogers”, A Casebook on Harold Pinter’s The Homecoming, (Editors) John Lahr and Anthea Lahr, Davis-Poynter, London.
- Shaw, George Bernard (2010). The Quintessence of Ibsenism, Now Completed to the Death of Ibsen, Constable & Co., Michigan.
- Silverstein, Marc (1993). Harold Pinter and the Language of Cultural Power, Associated University Presses, London and Toronto.
Details
| Journal Section | Issue |
|---|---|
| Authors | |
| Publication Date | July 30, 2016 |
| Submission Date | December 27, 2015 |
| Published in Issue | Year 2016 |