Abstract
Like The Ghost Sonata, The Homecoming, considered by many to be Pinter’s best play, combines realistic and metaphorical elements. These define its basic character and at the same time are what makes its interpretation so problematic. It is a general feature of Pinter’s dramas that they demand from their recipients (be they readers, audience, translators, critics, actors or directors) a great deal of sensitivity to what is between and behind the speeches, and The Homecoming is no exception.1
This is a preview of subscription content, log in via an institution to check access.
Preview
Unable to display preview. Download preview PDF.
Notes
Quoted from Anita R. Osherow, ‘Mother and Whore: The Role of Woman in The Homecoming’, Modern Drama, XVII, no. 4 (1974) 430.
Quoted from Enoch Brater, ‘Pinter’s Homecoming on Celluloid’, Modern Drama, XVII, no. 4 (1974) 443.
Cf. C. Carpenter, ‘“Victims of Duty?”: The Critics, Absurdity and The Homecoming’, Modern Drama, XXV, no. 10 (1982) 489–95.
Copyright information
© 1991 Egil Törnqvist
About this chapter
Cite this chapter
Törnqvist, E. (1991). Choosing the Medium: Pinter’s The Homecoming (1965). In: Transposing Drama. New Directions in Theatre. Palgrave, London. https://doi.org/10.1007/978-1-349-21185-2_5
Download citation
DOI: https://doi.org/10.1007/978-1-349-21185-2_5
Publisher Name: Palgrave, London
Print ISBN: 978-0-333-44063-6
Online ISBN: 978-1-349-21185-2
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)