By Jane Wong Yeang Chui
Utilizing Martin Esslin's "invention" - the Theatre of the Absurd - to envision Pinter's works, Wong brings the complexities and intricacies of the performs to the leading edge, upsetting readers and audiences to think again and problematize extra traditional reports of his performs.
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Extra info for Affirming the Absurd in Harold Pinter
Aston takes great pride in providing things for Davies, and indeed he could have thrived as a host, say to a boarding house like the Meg’s, where hospitality is a business and the availability of material items are deemed necessary comforts. But Davies is not the paying guest; his complaints require psychological attention that Aston cannot provide; when Davies tells Aston that that he had been singled out as a target of a beating at the pub, Aston offers him a seat and later a cigarette, and when the tramp tells him that he left his identity documents in Sidcup fifteen years ago during the war, Aston “suddenly becomes aware of the bucket and looks up,” and tells Davies he can go to bed whenever he likes (19).
You’ll be integrated” after subjecting him to psychological torture (Plays 1 76–78). Betrayed by his colleagues, and worse, his mother, and psychologically and physically tortured through forced electro-therapy, Aston finds extreme difficulty in facing others after his release from the asylum. Aston hasn’t spoken to anyone for ten years” (Billington 124). Human beings are inherently predisposed to find rewards in social relationships,” hence the arrival of Davies (Segrin 42). Thus, the friendship that Aston attempts to forge with Davies is an attempt at reconciliation with the past, but it is also Aston’s vision of an idealized world where he can, in Goldberg’s words, be integrated, be like everyone else, live as he did before the traumatic event—be normal.
Stan’s second concert, in which he views himself as a victim of a conspiracy, is strikingly similar to his experience in “A View of the Party”: I had a unique touch. Absolutely unique. They came up to me. They came up to me and said they were grateful. Then after that, you know what they did? They carved me up. Carved me up. It was all arranged, it was all worked out. when I got there, the hall was closed, the place was shuttered up, not even a caretaker. they pulled a fast one. I’d like to know who was responsible for that.
Affirming the Absurd in Harold Pinter by Jane Wong Yeang Chui