By M. Regal
This research specializes in the ways that Harold Pinter conceives of and dramatizes time in response to the medium during which he's operating. It is going past Pinter's fascination with fake and precise reminiscence to track a few of the textual and non-textual thoughts he employs to distort series and length in his performs. This publication indicates how Pinter undermines the temporal assumptions of naturalism and realism to shape a relativistic global during which time is a principal characteristic.
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Extra info for Harold Pinter: A Question of Time
Rose does not know what the time is, the Sands disagree as to how long they have been in the house, and Mr Kidd goes as far as to say: 'It'll be dark soon. ' The play is pervaded by an uncertainty about time within the confines of a seemingly reasonable and naturalistic period of duration. In The Room, stage time and actual time are ostensibly equivalent. On the surface, at least, it is a play which conforms to the three unities, though as we have seen its internal time is variable and partially governed by the use of pauses, silences and visual images.
We have no way of knowing. However, this is a feature of characterisation used so liberally by Pinter that a point is missed if it is given too much emphasis in this particular case. What is more significant is how relentlessly and precisely Goldberg pinpoints these 'reminiscences'. ' This last phrase indicates that there is nothing arbitrary about the sequence of events in his life (in stark contrast perhaps to the muddled sequences in the lives of the other characters, especially Stanley). This exactness should undermine the credibility of what he says, since two other accounts (those referring to his walks with a Sunday school teacher and the dinners prepared by his wife) also specify Friday as the day of the week on which certain presumably regular events took place.
41 In the longest silence to open a Pinter play, Mick works his way through an elaborate mime. Then we hear voices, and Mick moves silently to the door, goes out and closes it quietly, leaving us to anticipate a meeting that will not actually take place until the end of Act I. John Russell Brown has drawn our attention to the fact that, whatever motivation Mick has for looking at each of the objects in the room in turn, then remaining silent and expressionless, something other than dialogue is holding our attention: 34 Harold Pinter: A Question of Timing Pinter is aware that physical performance expresses inner conflicts and resolutions.
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