| Dialogue between characters in Pinter's
| |
| | exaggerated in order to contrast as
|
| plays can often seem enigmatic, and its
| |
| | strongly as possible with his assumptions
|
| purpose obscure, but it becomes less so
| |
| | about the character and language of the
|
| when we realise that as often as not a
| |
| | wife of a philosophy lecturer. But he
|
| battle is taking place between the
| |
| | has made false assumptions, failed to
|
| characters, and that identifiable
| |
| | assess and predict his opponent's
|
| strategies are being employed. I would
| |
| | behaviour, given away clues about himself
|
| like to consider some of those battles,
| |
| | without extracting any from her, and is
|
| particularly in The Caretaker, The
| |
| | consequently toppled into a subservient
|
| Homecoming, Old Times, and No Man's Land,
| |
| | role.In the final tableau of The
|
| in the light of Pinter's short story The
| |
| | Homecoming Ruth sits like a queen on a
|
| Examination, which depicts an archetypal
| |
| | throne, Lenny stands beside her like a
|
| Pinter battle.The ExaminationFrom a
| |
| | chief courtier, Joey kneels like a humble
|
| reading of The Examination I suggest that
| |
| | servant, and Max stalks about angrily,
|
| the person wishing to gain and maintain a
| |
| | then begs for mercy, like a deposed king.
|
| dominant position must:1) Ensure that his
| |
| | Teddy exits, unperturbed, like a
|
| opponent is playing the same game,
| |
| | messenger. The balance of dominance and
|
| accepting the same parameters of the
| |
| | subservience is quite clear, but the
|
| situation as himself.2) Be able to
| |
| | terms 'winners' and 'losers' do not quite
|
| influence his opponent's behaviour.3)
| |
| | seem appropriate. Ruth has won mastery
|
| Maintain control of the territory,
| |
| | over the others, but she has been placed
|
| including the objects and furniture in
| |
| | in that position by them, rather than
|
| the room, and the features of the room.4)
| |
| | striven for it herself.Old TimesIn some
|
| Observe his opponent closely, and try to
| |
| | ways the battles in Old Times are closer
|
| understand and predict his behaviour.5)
| |
| | to the outline drawn up from The
|
| Cause his opponent to give away clues
| |
| | Examination than those in Pinter's
|
| about how he is faring in the battle.6)
| |
| | earlier plays. This is because the
|
| Cause his opponent to display his need
| |
| | contestants, Deeley and Anna, are very
|
| for 'the situation'.7) Cause the opponent
| |
| | evenly matched, so instead of one
|
| to acknowledge that he (the dominant
| |
| | character demolishing the other as Mick
|
| player) is dominant.8) Conceal his own
| |
| | demolished Davies, or Ruth demolished
|
| fears from the opponent's observation.9)
| |
| | Lenny, the battle is more subtle and
|
| Make as few remarks and requests for
| |
| | refined. In the 'duologue' between Deeley
|
| verification as possible.The subservient
| |
| | and Anna [Act 1 (p.38-41)] a strenuous
|
| partner, wishing to undermine his
| |
| | battle is going on below the veneer of
|
| opponent's dominance and achieve
| |
| | sociable small-talk. Deeley boasts of his
|
| dominance himself, can employed the
| |
| | travel, Anna encourages him, then turns
|
| following techniques.1) Silence,
| |
| | the tables by criticising him for leaving
|
| especially that which is 'too deep for
| |
| | Kate alone for long periods, and uses the
|
| echo'. [p. 63]2) Unpredictable
| |
| | opening this creates in his defences to
|
| behaviour.3) Indifference; avoidance of
| |
| | suggest that she could come up and stay
|
| expressions of desire or displeasure.4)
| |
| | with Kate.The main battle in Old Times is
|
| Isolating the opponent (through silence),
| |
| | about who is closer to Kate, Deeley or
|
| refusing to confirm that he is involved
| |
| | Anna. From Anna's arrival in Act 1 Kate
|
| in the same situation as the opponent.5)
| |
| | says virtually nothing until just before
|
| Fooling the opponent by causing him to
| |
| | the end of the act. She is silent, but
|
| draw wrong conclusions from his
| |
| | she is listening, and observing, and
|
| observations.6) Observing the opponent,
| |
| | preparing for her well-aimed attack on
|
| learning to predict his behaviour, and
| |
| | both of them at the play's climax.Kate's
|
| identify his weak spots in order to use
| |
| | outburst at the end of the play seems to
|
| them to undermine his security, causing
| |
| | be a retaliation against the way Deeley
|
| him to feel alarm, confusion, and
| |
| | and Anna have, both during the course of
|
| anxiety.The CaretakerIn The Caretaker
| |
| | the play, and in the past, concealed
|
| Mick and Davies share the same view of
| |
| | their lecherousness beneath a phoney
|
| 'the situation' throughout, so
| |
| | veneer of sophistication and worldliness,
|
| psychological warfare is possible, and
| |
| | and also against the way she feels she
|
| Mick successfully dominates Davies by a
| |
| | has been dirtied by their sexual desires.
|
| masterly use of the techniques listed
| |
| | Anna is 'dead' because with the arrival
|
| above. But against Aston, who seems to
| |
| | of Deeley their relationship had died,
|
| refuse to get actively caught up in
| |
| | and dirty because after switching her
|
| battles, Mick is little better than
| |
| | affections and sexuality to Deeley, (What
|
| impotent. Thus although Mick is the
| |
| | a relief it was to have a different body
|
| dominant personality of the three, if the
| |
| | in my room, a male body [Act 2 (p.72)]
|
| battle in The Caretaker is over who will
| |
| | she finds her flirtation with
|
| control the destiny of the room, then
| |
| | homosexuality disgusting.In the final
|
| Aston wins.Aston wins a measure of
| |
| | scene the battle between Deeley and Anna
|
| victory over both Davies and Mick, and he
| |
| | about who is the more worldly, the more
|
| achieves this by seeming not to actively
| |
| | knowledgeable, and who knows Kate best,
|
| participate in the battle for dominance.
| |
| | is undercut and demolished by the
|
| Whether consciously or not, he
| |
| | formerly silent Kate.No Man's LandIn No
|
| undermines his opponents as effectively
| |
| | Man's Land the characters play a
|
| as Kullus undermines the narrator of The
| |
| | different game, perhaps cricket, a
|
| Examination with those techniques I have
| |
| | dignified gentlemanly game, with no women
|
| listed, his passivity causing his
| |
| | allowed. In the faster sections, such as
|
| opponents to undermine themselves by
| |
| | the fast-moving dialogue in Act 2
|
| projecting their fears onto him.Davies
| |
| | (p.71-77) however, the atmosphere is more
|
| repeatedly tries to get Aston to respond
| |
| | that of Ping-Pong. This section seems to
|
| to his view of the situation, and Aston
| |
| | be deliberately structured like a
|
| repeatedly denies Davies the comfort of a
| |
| | sporting competition, with the pauses
|
| relevant response. As a result Davies,
| |
| | representing a point scored by one
|
| with his almost obsessive fear of
| |
| | contestant or the other. (Hirst's
|
| persecution, projects onto Aston, and the
| |
| | 'That's my point,' might perhaps be
|
| objects in, and features of, Aston's
| |
| | deliberately ambiguous).Hirst 'serves'
|
| room, (for example the gas stove and
| |
| | with, 'You did say you had a good war,
|
| window), the role of potential
| |
| | didn't you?' Then the ball is knocked
|
| adversaries. Davies is unable to
| |
| | back and forth and Hirst wins the point
|
| understand or predict the behaviour of
| |
| | by referring to his superiority, having
|
| Aston (or objects in the room, such as
| |
| | been in Military Intelligence. After the
|
| the gas stove), and as his anxiety grows
| |
| | pause Hirst serves again, but Spooner
|
| so does his aggressive behaviour, until
| |
| | throws him off his guard by mentioning
|
| Aston, whose inclination is towards
| |
| | 'Stella'. The following pause represents
|
| tolerance, finally has to reject
| |
| | Spooner's point. Hirst wins the next
|
| him.Mick's frustration with his inability
| |
| | point at the pause on page 73, Spooner
|
| to dominate his brother is mostly
| |
| | wins the next at the pause on page 74,
|
| deflected onto Davies, but his climatic
| |
| | and so on.The competition between Hirst
|
| outburst represents his defeat by Aston.
| |
| | and Spooner disintegrates when Spooner
|
| His ambition to turn the house into 'a
| |
| | starts 'playing dirty'. The subject
|
| palace' is undermined by Aston's refusal
| |
| | matter degenerates from the war and
|
| to accept the subservient role Mick has
| |
| | Military Intelligence to Arabella
|
| tried to impose upon him.The HomecomingA
| |
| | Hinscott's predilection for 'consuming
|
| roughly parallel process to that seen in
| |
| | the male member'. The gentlemanly
|
| The Caretaker takes place in The
| |
| | atmosphere of a cricket match has been
|
| Homecoming. In the opening scenes Lenny
| |
| | maintained by the restrained manner and
|
| clearly displays his dominance over his
| |
| | cultivated diction of the conversation,
|
| preliminary opponent, Max. Max tries to
| |
| | but within those parameters Spooner
|
| dominate Lenny by talking about horse
| |
| | succeeds in offending Hirst until Hirst
|
| racing, but Lenny, who has obviously
| |
| | has to abandon the game.Throughout the
|
| observed his opponent well and found his
| |
| | play Spooner has had not only to compete
|
| weak spots, changes the subject and
| |
| | with Hirst at their 'gentlemanly game',
|
| attacks Max on the territory of his
| |
| | but also to compete with Foster and
|
| domestic role.When Ruth arrives on the
| |
| | Briggs who are doing their best to 'stop
|
| scene, however, Lenny is no more of a
| |
| | the match'.Read the full version of this
|
| match for her than Davies was for Mick.
| |
| | essay at:
|
| Ruth has the upper hand right from their
| |
| | Mackean runs the site which features a
|
| opening exchange.Lenny tries hard to
| |
| | substantial collection of English
|
| establish a dominant position in relation
| |
| | Literature Resources and Essays, and
|
| to Ruth with his two stories of his
| |
| | where his sites on Books Made Into
|
| aggressive behaviour towards women. He
| |
| | Movies, and Short Story Writing can also
|
| tries to shock her and undermine her
| |
| | be found. He is the editor of The
|
| confidence by boasting of his familiarity
| |
| | Essentials of Literature in English
|
| with an underworld of corruption and
| |
| | post-1914, published by Hodder Arnold.
|
| violence. His descriptions are
| |
| |
|
