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Harold Pinter is regularly categorized as a representative of the Theatre of the Absurd, which seemed and developed primarily in the 1950s in France, England, Scandinavia, Germany, and different English-speaking countries below the impact on surrealism and expressionism, and as a response to the Second World War.According to Esslin, the beginning of this type of drama can be considered in the late nineteenth century, when in 1896 Alfred Jarry staged for the first time in Paris Ubu Roi (Ubu the King), a nonsensical play about the adventures of a brutal usurper of the Polish throne.

Harold Pinter is regularly categorized as a representative of the Theatre of the Absurd, which seemed and developed primarily in the 1950s in France, England, Scandinavia, Germany, and different English-speaking countries below the impact on surrealism and expressionism, and as a response to the Second World War. The period used to be coined by way of Martin Esslin, who in 1961 posted a book below this title, in which he described a mode of drama writing shared through such European
dramatists as Samuel Beckett, Eugène Ionesco, Arthur Adamov, and Jean Genet. Harold Pinter was brought to this quartet of playwrights in the subsequent editions. According to Esslin, the beginning of this type of drama can be considered in the late nineteenth century, when in 1896 Alfred Jarry staged for the first time in Paris Ubu Roi (Ubu the King), a nonsensical play about the adventures of a brutal usurper of the Polish throne. This play anticipates one of the most important
characteristics of the Theatre of the Absurd, its tendency to externalize and assignment outwards what is taking place in the deeper recesses of the idea [and] is grotesquely magnified and exaggerated (Naskar,n.d, p.4).