لخّصلي

that it was once Harold Pinter (1930-2008), playwright, screenwriter, director, actor and the 2005 Nobel Laureate for Literature, who was once regarded to be the strongest voice of the Absurd on the British stage.Harold Pinter used to be a key determine of British post-war theatre, as well as a uncommon consultant of the ideas related with the Theatre of the Absurd, yet his work cannot be easily pigeon-holed and arranged into categories with surely defined and recognisable boundaries.

that it was once Harold Pinter (1930-2008), playwright, screenwriter, director, actor and the 2005 Nobel Laureate for Literature, who was once regarded to be the strongest voice of the Absurd on the British stage. The fashion of his plays, the topics and motifs Pinter develops in his work and the language he employed in his plays, changed the face of British modern drama and influenced many playwrights who Adopted and persevered to develop the elements Pinter delivered into the theatre. Harold Pinter used to be a key determine of British post-war theatre, as well as a uncommon consultant of the ideas related with the Theatre of the Absurd, yet his work cannot be easily pigeon-holed and arranged into categories with surely defined and recognisable boundaries. None of the literary movements, currents or genres, as described by means of the literary theory, can totally describe Pinter's work: he accommodates factors of numerous

of them at the identical time, picking solely these small print he wants in order to translate his ideas, mixing them regardless of policies and literary conventions. His plays showcase factors of contrasting styles: his plays may, on the one hand, be very realistic, but additionally very absurd; they can be very experimental, however nonetheless maintain the traits of regular drama; they may additionally be politically and socially engaged, but they may additionally focus on

The individual.