정치극의 새로운 면모: 헤롤드 핀터의 「마지막 한잔」과 「산골언어」
New Aspects of Political Play: Harold Pinter’s One for the Road and Mountain Language
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The works of Harold Pinter are considered to be masterpieces of the theatre of the absurd. This term, first coined by Martin Esslin, is characterised by many common themes, such as uncertainty, obscurity and anxiety. Existentialism is also closely linked to this form of theatre. In his later plays Pinter expressed a strong political consciousness. His political works employed the same dramatic techniques and Pinteresque characteristics as his previous ones with slight variations. These works differ from the those of other playwrights of the time, in that he does not employ typical aspects shown in the usual political dramas such as discursive debate and didactic speech. Even regional references have been obscured through a deliberate lack of information. As a result, the uniqueness of his political works comes from the effectiveness through which these techniques were universally applied. Pinter’s concern is basically to make the violence and evil doing of the world as he sees it, known to his audience. He conveys this message by generating an emotional reaction which is built by a series of selected images. These images force us to think about injustice and social discrimination. It can be concluded that Pinter extended the scope of political drama both technically and thematically.
Abstract
The works of Harold Pinter are considered to be masterpieces of the theatre of the absurd. This term, first coined by Martin Esslin, is characterised by many common themes, such as uncertainty, obscurity and anxiety. Existentialism is also closely linked to this form of theatre. In his later plays Pinter expressed a strong political consciousness. His political works employed the same dramatic techniques and Pinteresque characteristics as his previous ones with slight variations. These works differ from the those of other playwrights of the time, in that he does not employ typical aspects shown in the usual political dramas such as discursive debate and didactic speech. Even regional references have been obscured through a deliberate lack of information. As a result, the uniqueness of his political works comes from the effectiveness through which these techniques were universally applied. Pinter’s concern is basically to make the violence and evil doing of the world as he sees it, known to his audience. He conveys this message by generating an emotional reaction which is built by a series of selected images. These images force us to think about injustice and social discrimination. It can be concluded that Pinter extended the scope of political drama both technically and thematically.
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