Pinter's weasels
Playwrights tend to start out political and end up personal. Harold Pinter appeared to follow the opposite course. Marrying continental absurdism with British popular comedy, he changed how dialogue was written in British theatre as definitively as Cézanne changed how paintings were painted in France. Complementing his dialogue, his great speeches turn the mundane (in No Man's Land, the one-way system around London's Bolsover Street) into poetry. Despite this, those of us who followed him rejected his elliptical style and what we saw as the solipsistic apoliticism of absurdism ("Nothing means anything, nothing can be done"). So it was a surprise when, in later life, Pinter became a prominent voice of political dissent.… Seguir leyendo »