Contemporary British Drama, 1970–90: Essays from Modern by Hersh Zeifman, Cynthia Zimmerman

By Hersh Zeifman, Cynthia Zimmerman

This booklet focuses completely at the intriguing and provocative performs produced in England within the final twenty years. the first objective of the gathering is to have a good time the really awesome variety of British drama because 1970, by way of analyzing the paintings of fourteen very important and consultant playwrights. This emphasis on diversity applies not just to the dramatists selected for inclusion yet to the critics in addition - in particular to the variety of severe method verified of their essays.

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Needless to say, styles of play differ from player to player. An actor with scattered short speeches may decide to take as much time with them as he or she is able, simply to have a respite from the constant scurrying that silence may demand; or he may decide to hide, only moving to make a few Lawrence I. Eilenberg 21 well planned attacks and to deceive the others as to the location of his hiding place. The variations in tactics are many; ultimately it is a matter of individual style and skill.

But Pinter did not present these episodes from an introspective, Enoch Brater 37 private, or subjective point of view. He fixed the action, instead, in real, objective time rather than in psychological time. As Pinter explained so well, the attempt to match images to every tum of Stephan's thought would result in an overwrought film, far too literary in the sense that everything would be over-explained. In an interview with John Russell Taylor, Pinter discussed his decision to strip Accident of its subjective form: At first we thought of perhaps trying to do it the way the book does, to find a direct film equivalent to the free-association, stream-of-consciousness style of the novel.

Jerry's mortification turns to indignation when he realizes that he has been betrayed not only once, but twice. Emma betrays him the night before when she deliberately misleads him, but Robert has betrayed him for four years by never letting on that he knew about their affair since the trip to Venice in 1973: Enoch Brater JERRY ROBERT JERRY Pause ROBERT JERRY know! ROBERT JERRY 31 Why didn't she tell me? Well, I'm not her, old boy. Why didn't you tell me? I thought you might know. But you didn't know for certain, did you?

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