Harold PINTER: Unsentimental Mood...
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Publié par
Michel ODIKA
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Harold PINTER: Unsentimental Mood…
Michel ODIKA
The past is what you remember, imagine you remember, convince
yourself you remember, or pretend you remember (…).
Apart from the
known and the unknown, what else is there? (Harold...
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Harold PINTER: Unsentimental Mood…
Michel ODIKA
The past is what you remember, imagine you remember, convince
yourself you remember, or pretend you remember (…).
Apart from the
known and the unknown, what else is there? (Harold PINTER)
Few writers, in or out of theatre, have pushed themselves further than Harold
PINTER.
To make this affirmation, the man is his own creation.
He has
influences but no precedents, imitators but no equals.
There is no doubt that Harold PINTER has imparted a new spirit to classical
theatre.
The calm before the storm - so many people can interpret the tension
created by the extremely powerful contrasts of a very fascinating way of
thinking and writing.
Those fruitful contrasts reach us deeply because they
always come from deep within a man, just like those dark and chilling sounds
that no one else than Miles DAVIS has ever played on the trumpet.
No wonder
things intensely charged with meanings and true witness seize the imagination
of many a gentleman.
.
.
Along with his contemporary Samuel BECKETT, Harold can be held as widely
responsible for modern literature entering into a new era in the last half of the
20th century - embracing any and all organizational possibilities for those
willing to take the personal, artistic and public risks.
During that breakthrough
time in the mid and late 1950 s and 1960 s, when some other writers headed in
that direction, it was not only a matter of exploring newer potentials of literary
expression, but also one of confronting an ever stagnant status quo.
The dusty
tradition had to be extended beyond comfortable habits and myths, despite
objection from the usual reactionary elements.
However, as with any
revolutionary movement (political and social as well as artistic), the longer the
"new" form is around the corner, the more it becomes just "another genre" rather
than a living radical statement demanding cultural, social and political upheaval.
The culture, natural parasite that it is, automatically absorbs and applies the
superficialities of all movement in its various commercial and institutionalized
forms.
And then there are the mostly distorted - albeit sincere - attitudes of the
growing number of followers of any new movement which have more to do with
being intellectually and artistically "hip" than anything else, as well as the
inevitable sell-out or burn-out of once consistent writers.
Still, as with any style
of literature (or any endeavour), there remains writers whose continued sense of
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