1930 - 2008 (78 years)
Has 2 ancestors and one descendant in this family tree.
||Harold Pinter |
|Relationship||with Adam |
||10 Oct 1930
||Hackney, London, England
||24 Dec 2008
||This person is also Harold Pinter at wikipedia |
||23 Jun 2016 |
||Vivien Merchant, b. 22 Jul 1929, Manchester , d. 3 Oct 1982 (Age 53 years) |
||20 Jan 2008 |
||Group Sheet | Family Chart
- an English playwright, screenwriter, actor, director, poet, and political activist. After publishing poetry as a teenager and acting in school plays, Pinter began his theatrical career in the mid-1950s as a rep actor using the stage name David Baron. During a writing career spanning over half a century, beginning with his first play, The Room (1957), Pinter has written 29 stage plays; 26 screenplays; many dramatic sketches, radio and TV plays; much more poetry; some short fiction; a novel; and essays, speeches, and letters. He is best known as a playwright and screenwriter, especially for The Birthday Party (1957), The Caretaker (1959), The Homecoming (1964), and Betrayal (1978), all of which he has adapted to film, and for his screenplay adaptations of others' works, such as The Servant (1963), The Go-Between (1970), The French Lieutenant's Woman (1981), The Trial (1993), and Sleuth (2007). He has also directed almost 50 stage, TV, and film productions of his own and others' works. Despite frail health since 2001, he has continued to act on stage and screen, most recently in the October 2006 critically-acclaimed production of Samuel Beckett 's Krapp's Last Tape , during the 50th anniversary season of the Royal Court . He also continues to write (mostly poetry), to give interviews, and to speak about political issues.
Pinter's dramas often involve strong conflicts among ambivalent characters fighting for verbal and territorial dominance and for their own remembered versions of the past ("Biobibliographical Notes"). Stylistically, they are marked by theatrical pauses and silences, comedic timing, provocative imagery, witty dialogue, ambiguity, irony, and menace ("Biobibliographical Notes"). Thematically ambiguous, they raise complex issues of individual human identity oppressed by social forces, the power of language, and vicissitudes of memory. Like his work, Pinter has been considered complex and contradictory (Billington, Harold Pinter 388).
Although Pinter publicly eschewed applying the term " political theatre " to his own work in 1981, he began writing overtly political plays in the mid-'80s, reflecting his own heightening political interests and changes in his personal life. This "new direction" in his work and his " Leftist " political activism stimulated additional critical debate about Pinter's politics. Pinter, his work, and his politics have been the subject of voluminous critical commentary ("Biobibliographical Notes"; Merritt, Pinter in Play; Grimes).
Pinter has received seventeen honorary degrees and numerous awards and honors. Academic institutions and performing arts organizations have devoted symposia, festivals, and celebrations to honoring him and his work, in recognition of his cultural influence and achievements across genres and media. In awarding Pinter the Nobel Prize in Literature in 2005, the Swedish Academy cited him for being "generally regarded as the foremost representative of British drama in the second half of the 20th century." His Nobel Lecture, Art, Truth & Politics provoked extensive public controversy, with some media commentators accusing Pinter of "anti-Americanism" (Allen-Mills). Yet Pinter emphasizes that he criticizes policies and practices of American administrations, not American citizens, many of whom he recognizes as "demonstrably sickened, shamed and angered by their government's actions" (Various Voices 243; Art, Truth & Politics 21). In January 2007 Pinter received the LĂ©gion d'honneur , France's highest civil honor, particularly "because in seeking to capture all the facets of the human spirit, [Pinter's] works respond to the aspirations of the French public, and its taste for an understanding of man and of what is truly universal." On 11 December 2007 the British Library announced that it had purchased Pinter's literary archive for 1.1 million (approx. 2.24 million).