Reconsiderations of Pinter's relationship to literary and theatrical movements such as Modernism and the Theatre of the Absurd interrogations of the role of class, elitism and religious and cultural identity sit alongside chapters on Pinter's personal politics, specifically in relation to the Middle East. Three sections re-contextualize Pinter as a cultural figure explore and interrogate his influence on contemporary British playwriting and offer a series of original interviews with theatre-makers engaging in the staging of Pinter's work today.

Combining a reconsideration of key Pinter scholarship with new contexts, voices and theoretical approaches, this book opens up fresh insights into the author's work, politics, collaborations and his enduring status as one of the world's foremost dramatists. For over five decades, Pinter's work traversed and redefined various forms and genres, constantly in dialogue with, and often impacting the work of, other writers, artists and activists. The life and works of Harold Pinter (1930–2008), a pivotal figure in British theatre, have been widely discussed, debated and celebrated internationally.

This important book offers a thematic collection of critical essays, ideal for undergraduate courses on modern British theatre, on Harold Pinter's theatrical works, alongside new interviews with contemporary theatre practitioners. Pinter's Politics (2005) and Basil Chiasson's The Late Harold Pinter . Intended for students, instructors, and researchers in drama and theatre, performance studies, literature, and media studies, this book celebrates Pinter’s later life and work by discerning a coherent political voice and project and by registering the complex ways that project troubles the divide between aesthetics and politics.īiographical approaches, while rarer, remain key touchstones in Pinter discourse. The book brings to light unpublished letters and drafts from the Pinter Archive in the British Library and draws his political poems and speeches, which have previously been overshadowed by his plays, into the foreground. With chapters on political drama, poetry, and speeches, it charts a consistent tension between aesthetics and politics through Pinter’s later career and defines the politics of the work in terms of a pronounced sensory dimension and capacity to affect audiences. This volume is the first to provide a book-length study of Pinter’s overtly political activity.

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