لخّصلي

Published in 1965, Harold Pinter's The Birthday Party dramatizes the existential combat by the capacity of problem seen in the relationship amongst the characters of the play.Meg is talkative and inquisitive whereas Petey is reticent and evasive.Petey solutions most of the time in mono syllables, very reluctantly and what Meg says is superfluous.We see some coldness in the relationship between Meg and Petey.Their mission remains mysterious all through the play.

Published in 1965, Harold Pinter's The Birthday Party dramatizes the
existential combat by the capacity of problem seen in the relationship amongst the characters of the play. We see some coldness in the relationship between Meg and Petey. Meg is talkative and inquisitive whereas Petey is reticent and evasive. Petey solutions most of the time in mono syllables, very reluctantly and what Meg says is superfluous.
The Birthday Party, like pinter's other plays, has at each and every hook and cranny, situations of suspense and tone of whyness and whatness. For example, Goldberg and McCann in The Birthday Party have no historical past of their problem. Their mission
remains mysterious all through the play. Another most mysterious personality in the play is Stanley, who is the center of the birthday party and who keeps on pronouncing from the beginning of the play that it is now not his birthday and he has nothing to do with the party. In such a way The Birthday Party helps the theme of absurdity where the characters are roaming right here and there for getting their identity. In this context, Ronald Knowles opines "with his fantastic success through the early 1960s, Pinter was once regularly associated with the social realism of the 'Angry young men' and with the
absurdism of Beckett and Ionesco"