خدمة تلخيص النصوص العربية أونلاين،قم بتلخيص نصوصك بضغطة واحدة من خلال هذه الخدمة
speculation, but for now it is enough to emphasize that I read these
scenes as more of a critique of the nature of textual representation than
the critique of a speculating audience.It suggests that the very fact some critics understand
the play as a murder and some critics do not precludes any unitary interpretation as
legitimate.While the newspaper's characterization of the cat's death may
seem to be a more likely scenario than Gus's gender bias, to label
Gus's position false is to continue "filling in." Just because Gus is
biased and a newspaper that is never proven to be inaccurate is
traditionally understood to be true does not mean Gus is wrong. Since
the event that both Gus and the newspaper try to explain is kept firmly
out of the audience's view, both interpretations are just representations
of an exterior action. Either is a possible explanation for the dead cat. The play offers interpretations, not authentic answers. Ben and Gus are given the choice of recognizing that the text
possesses an independent veracity that represents obscurely and fails
to lead to satisfaction, or engage in the satisfying act of interpretation,
molding the text till it fits their desires. Unsurprisingly, they choose
the latter. By privileging their own satisfaction, Ben and Gus take
authenticity out of the equation (or perhaps they become the personal
arbitrators of authenticity), and in so doing demonstrate that the
newspaper scene is a conflict of representational systems. The signs
are accepted on their own merit without regard to the likelihood of
signifier bonding to referent. I would like to think that I am not so totally humorless and
logicless as not to recognize the silliness of Ben and Gus privileging
their "filling in" over the "filling in" of the newspaper, and that Van
Laan's insight that this "filling in" parodies a strand of criticism that
would develop around the play is an apt one.This self-awareness equips Pinter's play to call attention
to the "filling in" / exactitude fulcrum over which so much drama
seems to balance. Perhaps The Dumb Waiter, and the critical conflicts
which surround it, can help illustrate how neither alternative
adequately illustrates Pinter's play and its proliferating meanings. Lance Norman, Michigan State University
Notes
1 Viewed in its ritual context some contemporary drama has overcome this difficulty
by ending the play with it beginning again. See Eugene Ionesco's The Lesson (1958)
and Arrabal's The Architect and Emperor of Assyria (1969) for representativeexamples. Arrabal's play successfully emphasizes the ephemeral nature of ritual roles
as the play begins again (concludes?) with the Architect having become the Emperor,
and the Emperor the Architect. 2 Susan Hollis Merritt addresses Van Laan's critical strategy, and provides in-depth
analysis of the debate between Van Laan, Austin Quigley, and Charles Carpenter in
Modern Drama, on what she calls "critically 'inescapable' certainties" (see chapter 4
of Pinter in Play).Without a complete explanation
for why a man crawled under a lorry, the story of the man getting run-
over, which begins the play, becomes "unbelievable" and "incredible"
if not incomprehensible to the two hitmen. Yet, if anything is
incomprehensible to the theatrical audience, it is the very fact that the
seemingly fact-based newspaper story is incomprehensible to Ben and
Gus.After moving to another story, Ben and Gus find textual
representation even more unsatisfactory. Just because words are
printed on a page does not mean the printed words represent an
authentic action that has occurred exterior to the room. The
newspaper does not represent transparently. Rather than revealing
absolute truths and representing an objective unmediated view of the
world, the newspaper's textual signifiers require human mediation. Ben and Gus must grapple with and interpret the text to be
satisfied with how and what the text represents:
BEN: It's a fact. What about that, eh? A child of eight
killing a cat! GUS: How did he do it? BEN: It was a girl. GUS:. How did she do it? BEN: She -
He picks up paper and studies it.
It doesn't say. GUS: Why not? BEN: Wait a minute. It just says -- Her brother, aged eleven,
viewed the incident from the toolshed. GUS: Go on! BEN: That's bloody ridiculous. Pause. GUS: I bet he did it.
BEN: Who? GUS: The brother. BEN: I think you're right. Pause. (Slamming down the paper.) What about that, eh? A kid of
eleven killing a cat and blaming it on his little sister of eight! (116)
For Ben and Gus, both stories have intrinsic gaps -- questions
that remain unanswered. These gaps in textual representation suggest
that no matter how precise a text, there is always room for more
precision. It is not enough to know that an old man crawls under a
lorry and is run over, it must be known "who advised him to do a
thing like that" (114)?Van Laan sees filling in as a relatively new phenomena:
"commentators are engaging in a process that has become widespread
in the discussion of drama since the advent of Beckett" (118), and he
goes on to argue that Pinter's play "deviates so strikingly from the
traditional [dramatic] model that his relationship to us becomes a
central element of the drama" (122). This recognition of the divergence between Pinter's drama
and traditional drama revolves around the audience's trust in the
playwright. In traditional drama, the audience trusts the playwright,
and, thus the play unfolds without the audience being forced to take
the playwright into the equation. Rhetorically, when Van Laan needs
to understand Pinter in terms of exactitude -- or, more precisely, when
he wants to emphasize the exactitude of the play's ambiguous ending -
- the play is understood as a text. When he outlines the insubstantial
relationship between Pinter's play and the audience, then the play is
described in terms of performance by using such terms as "spectator
response" (122).In a clear example of disciplining those who "fill in," Shaw
describes as "unbearable" the way that "people in all directions have
assumed, for no other reason than that she [Eliza Doolittle] became
the heroine of a romance, that she must have married the hero of it"
(282). Shaw believes he has written a play -- he has created a text--that represents an exact and precise meaning. In the aftermath of the
play's performance, Shaw sees how audiences have filled in the play
by imagining a marriage between Eliza and Higgins. Shaw returns to
the text since the audience has deformed the play. He must create a
postscript as paratext in an effort to make the imprecise text more
exact. Much like Van Laan, Shaw tries to imagine a text so precise its
meaning becomes transparent -- a text protected from interpretive
ambiguity.6
With this being said, I agree that critical efforts to "fill in"
associated with The Dumb Waiter are different from Shaw's
recognition of and attempt to protect his play from an audience's
imaginative construction.It would be one thing if the compulsion to "fill in" was
restricted to Pinter and other so-called absurdist playwrights, but Van
Laan's claims are far too modest. This is a phenomena that stretches
at least as far back as modern drama itself.4 In his exuberance for The
Dumb Waiter, Van Laan sees Pinter's play as too much of a radical
departure from its dramatic antecedents. For example, in just one well known and decidedly non-
absurdist example of "filling in," G. B. Shaw includes a prose
epilogue to the published form of Pygmalion:
5
This sequel to the play
describes what will happen next to the characters.However, such an interpretation is again forced to
confront language that fails to represent precisely, for even if Gus
does not have his gun, Ben's instructions outline that Gus is behind
the door and that a "bloke comes in" (143).Understanding the concluding tableau precisely seems to
require the understanding that so much of the language that leads up to
the tableau fails to represent precisely. Ben and Gus's need to fulfill orders exactly,
and the way such a compulsion leads them further and further down a
dangerous path, is analogous to the critical compulsion to focus on the
exact manner the concluding tableau represents. Ben and Gus take turns
embracing both critical activities, and believing that both offer
meaning and satisfaction. I am not insisting that every critic must
engage in both activities since such a balance would be difficult if not
impossible to maintain. Reflecting on his efforts to fulfill the textual
representations delivered by the dumb waiter, Gus wonders: "Why did
you send him up all that stuff?The precise dictates of textual representation cannot be
performed and "filling in" cannot disguise this fact. Efforts to "fill in"
merely outline the unacceptable nature of "filling in," and establish
the very concept of textual representational exactitude as illusory.8
Since Ben and Gus have been unable to understand precise
textual representation as anything but illusory -- since they must "fill
in" perceived gaps in the papers, and since the written requests of the
dumb waiter must remain hopelessly out of reach, the hitmen turn to
the vocal utterance.The Dumb Waiter does not reach its almost
violent tableau because Ben and Gus "fill in," but on the contrary, the
tableau emerges as the culmination of a quite opposite effect. The play concludes with Ben and Gus exhibiting a Shavian
compulsion to read texts precisely. Like Shaw's efforts to give
Pygmalion a precise meaning, Ben and Gus wish to believe that texts
have one exact meaning. In addition to parodying "filling in," the
hitmen and The Dumb Waiter as a play confront the inherent difficulty
in understanding texts determinately.However, if we read thenewspaper scene as a parody of critical "filling in," there is another
critical strand that is parodied later in the play. As the dumb waiter
delivers its written food orders to Ben and Gus, the hitmen must
confront the impossibility of fulfilling the desire for textual exactitude. Their "real world" actions are doomed to perpetually fall short of the
requests outlined in the notes delivered via the dumb waiter.Van Laan outlines an idealized dramatic dichotomy
to The Dumb Waiter: text is exact and fosters meaning, while the
performative utterance perpetuates a self-referential ambiguity.3.
speculation, but for now it is enough to emphasize that I read these
scenes as more of a critique of the nature of textual representation than
the critique of a speculating audience. It is not so much that an
audience misunderstands the play, but that texts cannot be read
precisely. Attempts to read precisely emphasize the errors intrinsic to
such an effort. The Dumb Waiter has multiple meanings that cannot
be reduced to a single idea or message.
Despite the desire to determine an absolute meaning from a
text (whether the text in question is Ben’s newspapers, or The Dumb
Waiter as a dramatic text), texts resist being interpreted so precisely.
Texts always seem to evade determinate foreclosure. Read
metatheatrically, The Dumb Waiter critiques the way we understand
dramatic texts, and perhaps in a wider context the way we understand
narrative and performance. It emphasizes the way readers and
audience members alike foreclose narrative. This foreclosure may be
used in the service of either an ambiguous or rigid interpretation. The
point is both interpretations require a precise relationship to narrative.
The narrative must provide an impossibly exact interpretation.In terms of The Dumb Waiter, recognizing the compulsion to
“fill in” becomes a means to stake out Pinter’s place in modern drama.
Van Laan sees filling in as a relatively new phenomena:
”commentators are engaging in a process that has become widespread
in the discussion of drama since the advent of Beckett” (118), and he
goes on to argue that Pinter’s play “deviates so strikingly from the
traditional [dramatic] model that his relationship to us becomes a
central element of the drama” (122).
This recognition of the divergence between Pinter’s drama
and traditional drama revolves around the audience’s trust in the
playwright. In traditional drama, the audience trusts the playwright,
and, thus the play unfolds without the audience being forced to take
the playwright into the equation. Rhetorically, when Van Laan needs
to understand Pinter in terms of exactitude -- or, more precisely, when
he wants to emphasize the exactitude of the play’s ambiguous ending -
تلخيص النصوص العربية والإنجليزية اليا باستخدام الخوارزميات الإحصائية وترتيب وأهمية الجمل في النص
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