The Birthday Party

 THE BIRTHDAY PARTY 

This blog is based on thinking activity assigned by Megha Mam in which I am going to discuss about the Film Screening.  

 

Pre - Viewing Task

*Harold Pinter - the man and his work (pinter,the birthday party)

Pinter was born on 10 October 1930, in Hackney, east London, the only child of British Jewish parents of Eastern European descent: his father, Hyman "Jack" Pinter (1902–1997) was a ladies' tailor; his mother, Frances (née Moskowitz; 1904–1992), a housewife. Pinter believed an aunt's erroneous view that the family was Sephardic and had fled the Spanish Inquisition; thus, for his early poems, Pinter used the pseudonym Pinta and at other times used variations such as da Pinto.

* His Works 

The Birthday Party (1957) is the first full-length play by Harold Pinter, first published in London by Encore Publishing in 1959. It is one of his best-known and most frequently performed plays. The Homecoming is a two-act play written in 1964 by Harold Pinter and first published in 1965. Its premières in London (1965) and New York (1967) were both directed by Sir Peter Hall. The original Broadway production won the 1967 Tony Award for Best Play. Its 40th-anniversary Broadway production at the Cort Theatre was nominated for a 2008 Tony Award for "Best Revival of a Play". Betrayal is a play written by Harold Pinter in 1978. Critically regarded as one of the English playwright's major dramatic works, it features his characteristically economical dialogue, characters' hidden emotions and veiled motivations, and their self-absorbed competitive one-upmanship, face-saving, dishonesty, and (self-) deceptions. The Servant is a 1963 British drama film directed by Joseph Losey. It was written by Harold Pinter, who adapted Robin Maugham's 1948 novella. The Servant stars Dirk Bogarde, Sarah Miles, Wendy Craig and James Fox.  The Go-Between (1971), The French Lieutenant's Woman (1981), The Trial (1993) and Sleuth (2007). He also directed or acted in radio, stage, television and film productions of his own and others' works.

* Comedy of Menance 

definition of Comedy of Menance :

'comedy of menace', a genre where the writer allows us to eavesdrop on the play of domination and submission hidden in the most mundane of conversations. 

Comedy of menace is a term used to describe the plays of David Campton and Harold Pinter by drama critic Irving Wardle, borrowed from the subtitle of Campton's play The Lunatic View: A Comedy of Menace, in reviewing their plays in Encore in 1958. "Comedy of menace" and "comedies of menace" caught on and have been used generally in advertisements and in critical accounts, notices, and reviews to describe Pinter's early plays and some of his later work as well.

The Birthday Party – the comedy of menace - is a tragedy with a number of comic elements – it is a comedy, which also produces an overwhelming tragic effect. Throughout the play we are kept amused and yet throughout the play we find ourselves also on the brink of terror. Some indefinable and vague fear keeps our nerves on an edge. We feel uneasy all the time even when we are laughing or smiling with amusement. This dual quality gives to the play a unique character.

* The menace evolves from actual violence in the play or from an underlying sense of violence throughout the play.

* It may develop from a feeling of uncertainty and insecurity. The audience may be made to feel that the security of the principal character, and even the audience’s own security, is threatened by some impending danger/fear.

* This feeling of menace establishes a strong connection between the character's predicament and audience’s personal anxieties.

In these way it is different from 'Theatre of Absurd'.

 

‘Pinteresque’ – Pinter pause and use of ‘Silence’ in the play: a particular atmosphere and environment in drama.

Pinter Pause:

One of the "two silences"–when Pinter's stage directions indicate pause and silence when his characters are not speaking at all–has become a "trademark" of Pinter's dialogue and known as the "Pinter pause”. There are two silences. One when no word is spoken. The other when perhaps a torrent of language is being employed. This speech is speaking of a language locked beneath it. That is its continual reference. The speech we hear is an indication of that which we don't hear. It is a necessary avoidance, a violent, sly, anguished or mocking smoke screen which keeps the other in its place. When true silence falls we are still left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness.

Pinter once said in an interview: “We have heard many times that tired, grimy phrase: 'failure of communication' … and this phrase has been fixed to my work quite consistently. I believe the contrary. I think that we communicate only too well, in our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rearguard attempts to keep ourselves to ourselves. Communication is too alarming. To enter into someone else's life is too frightening. To disclose to others the poverty within us is too fearsome a possibility. I am not suggesting that no character in a play can never say what he in fact means. Not at all. I have found that there invariably does come a moment when this happens, when he says something, perhaps, which he has never said before. And where this happens, what he says is irrevocable, and can never be taken back.”

The atmosphere of menace is also created by Pinter’s ability to drop suddenly from a high comic level to one of deep seriousness. Illustrations from the text? (read news – news about child birth, happy to feel nostalgic about piano show – remembrance of present state, interrogation, birthday party’s play – strangle/rape)

By this technique the audience is made aware that the comedy is only at surface layer. The sudden outbreaks of violence (verbal / physical?) in the play confirm this and leave the audience unsure of what will come next. Illustrations from the text? (interrogation scene)

There is fear in the play. Fear of what? Several things! By whom? Just as Stanley (or Meg) is the main vehicle for comedy in the play, so is he the main vehicle for the presentation of fear. Are any other characters frightened? Illustrations from the text? (All the characters are suffering from the fear of unknown. Perhaps they laugh to forget their fear, they live in past or avoid to see in mirror – because of fear).

The room or house represents security from the outside world but sadly it is impossible to sustain. The menace in the form of Goldberg and McCann represents a hostile outside world. They are the exception to the rule where life is normal and pleasant outside (and inside until they arrive!).

The general setting of the play is naturalistic and mundane, involving no menace. However one of Pinter’s greatest skills is his ability to make an apparently normal and trivial object, like a toy drum, appear strange and threatening. Pinter can summon forth an atmosphere of menace from ordinary everyday objects and events, and one way in which this is done is by combining two apparently opposed moods, such as terror and amusement. Much of Birthday Party is both frightening and funny. Stanley is destroyed by ‘a torrent of words’, but mingled in with the serious accusations eg "He’s killed his wife" are ones which are trivial and ludicrous eg "Why do you pick your nose?"

eg The "sitting down" sequence - funny but threatening.

eg Stanley’s behavior during the game - funny but terrifying, because the audience are aware that much more is at stake than appears on the surface - the subtext! This is one source of menace, namely the audience’s awareness that trivial actions are often concealing thoughts and events of much larger significance.

It may be that the audience feels a sense of guilt at their own laughter - forced into it against their will.

Another technique that Pinter uses to create an atmosphere of menace is to cast doubt on almost everything in the play. One method of doing this is to have a character give a clear and definite statement and then have him flatly deny it later on. Illustrations from the text? (Stan’s piona concert, Nat and McCann’s threat and then alluring promise; Meg’s Belle of Ball way of remembering birthday night).

The nature of reality here is confused - the audience no longer knows what is or is not true and out of this comes an atmosphere of mystery and uncertainty. Pinter does not give background information about the characters in Birthday Party. This means the characters are not fixed as belonging to any particular place or time! Stanley has no history, he does not belong to anyone or anywhere, he has no family. Other Illustrations from the text? (Meg and Petey remains understated characters, Nat & McCann are enigmatic characters.)

Are Goldberg and McCann emissaries of some secret organisation that Stanly has betrayed? Or male nurses sent out to fetch him back to an asylum from which he has escaped? Or agents/messengers from another world? The questions are never answered.

Reverse dramatic irony: In traditional dramatic irony, the audience knows what the actors don't. In Pinter the characters have secrets we never discover. (Illustrations form the text – all characters hide some facts from audience)

'The Birthday Party' - an allegory of artist in exile and in other interpretations

Comparing "The Birthday Party" by Harold Pinter to other literary works or plays that delve into themes of exile, alienation, and artistic struggle can provide valuable insights into how different authors tackle similar thematic concerns. Here's a comparison with two notable works: 1. "Waiting for Godot" by Samuel Beckett: Similarities: - Themes of existential despair, uncertainty, and absurdity. - Both plays feature characters who are trapped in a seemingly meaningless existence. - Dialogue-driven narratives that rely heavily on subtext and ambiguity. - Exploration of the breakdown of communication and language. Differences: - While "The Birthday Party" is set in a specific location (a boarding house), "Waiting for Godot" takes place in a more abstract, timeless setting (a desolate road). - "The Birthday Party" incorporates elements of psychological realism, while "Waiting for Godot" is more overtly symbolic and allegorical. - The characters in "The Birthday Party" are more grounded in social and psychological realism, whereas those in "Waiting for Godot" are more archetypal and representative of universal human experiences. 2. "The Stranger" by Albert Camus: Similarities: - Themes of existentialism, alienation, and the search for meaning in an indifferent universe. - Both works feature protagonists who feel detached from society and struggle to find their place in the world. - Exploration of the consequences of societal norms and expectations on individual freedom. Differences: - "The Stranger" is a novel, whereas "The Birthday Party" is a play, resulting in differences in narrative structure and storytelling techniques. - While "The Stranger" focuses primarily on the internal psychological landscape of its protagonist, Meursault, "The Birthday Party" examines interpersonal dynamics and relationships within a specific social context. - "The Stranger" is set in Algeria and explores themes of colonialism and cultural identity, whereas "The Birthday Party" is set in England and deals more with the mundanity of suburban life. Overall, while each of these works explores themes of exile, alienation, and artistic struggle in its own unique way, they share a common concern with the human condition and the search for meaning in a seemingly indifferent world. However, differences in narrative style, setting, and characterization contribute to distinct interpretations and experiences for readers or audience members.

‘The Birthday Party’ as a Political Play with reference to Harold Pinter’s Noble Speech: ‘Art, Truth & Politics

In his Nobel Lecture, Harold Pinter criticizes how politicians use language to manipulate people and keep themselves in power. He points out examples, like the false reasons given for the Iraq War. Pinter says the United States has done bad things but tries to act like it's a force for good. He talks about how American presidents use words to make people feel good but ignore real problems. Pinter believes we need to be honest and keep searching for truth and justice. He ends by saying we must not forget to treat each other with dignity.

While - Viewing Task

Harriet Deer and Irving Deer’s article[2] on Pinter's "The Birthday Party": The Film and the Play. (Deer and Deer)

 Answer :-

The article titled "The Birthday Party: The Film and the Play" by Deer and Deer likely provides a comparative analysis of Harold Pinter's play "The Birthday Party" and its film adaptation(s). It likely explores narrative adaptations, directorial choices, performance analysis, reception, impact, and adaptation challenges. This analysis offers valuable insights into the creative process and the differences between the two mediums.

· A comparison of the film and play versions of ‘The Birthday Party’ affords us a rare opportunity to gain insight into how a reconception of a play into film may affect the dramatic experience it communicates. Mark the way Pinter treats the texture of the play.

Answer:-

In comparing the film and play versions of "The Birthday Party," we can gain valuable insight into how Harold Pinter's reconception of his play for the screen affects the dramatic experience it communicates. Pinter's treatment of the texture of the play is particularly noteworthy in this regard.

In the play, Pinter employs his trademark sparse dialogue and use of pauses (commonly referred to as "Pinteresque"), creating a sense of tension, ambiguity, and psychological depth. The characters' interactions are filled with subtext, leaving much unsaid and open to interpretation. Pinter's careful manipulation of language and silence adds to the overall atmosphere of unease and existential angst that permeates the play.

When adapting the play for the screen, Pinter faced the challenge of translating these unique textual qualities to a visual medium. While the film adaptation(s) may retain elements of Pinter's dialogue and pacing, they also offer opportunities for visual storytelling, such as through cinematography, set design, and camera angles.

Pinter's treatment of the texture of the play in the film adaptation(s) may involve enhancing the atmospheric elements through visual cues, amplifying the sense of isolation and claustrophobia, and exploring new dimensions of character psychology through close-ups and non-verbal communication.

Overall, by examining how Pinter treats the texture of the play in both its stage and screen incarnations, we can better understand the nuances of his artistic vision and the ways in which different mediums shape the dramatic experience for audiences.

· Observe how Pinter gives us the texture-the sounds and sights of a world without structure, which is the heart and soul of the play also.

Answer:- 

In "The Birthday Party," Harold Pinter masterfully creates a world without structure, immersing the audience in an atmosphere of uncertainty and existential dread. Through the use of sounds, sights, and dialogue, Pinter paints a vivid picture of a chaotic and disorienting environment, which serves as the heart and soul of the play.

Sounds: Pinter utilizes sounds to evoke a sense of unease and disarray within the world of the play. The boarding house setting is filled with mundane yet ominous noises, such as creaking floorboards, distant murmurs, and the ticking of a clock. These sounds create an atmosphere of tension and  foreboding, hinting at the underlying chaos and instability that lurks beneath the surface.

Sights: The visual imagery in "The Birthday Party" contributes to the sense of a world without structure. The dilapidated boarding house, with its peeling wallpaper and shabby furnishings, serves as a physical manifestation of the characters' inner turmoil and existential angst. The characters themselves, with their enigmatic behavior and cryptic dialogue, add to the sense of disorientation and uncertainty.

Dialogue: Pinter's use of language further enhances the texture of the play, conveying the characters' fragmented and disjointed 

perceptions of reality. The dialogue is filled with pauses, repetitions, and non-sequiturs, reflecting the characters' struggle to communicate effectively and make sense of their surroundings. This linguistic ambiguity adds to the overall sense of dislocation and confusion within the play.

Overall, through the careful manipulation of sounds, sights, and dialogue, Pinter creates a textured and immersive world in "The Birthday Party," one that captures the essence of a world without structure. This chaotic and disorienting environment serves as the heart and soul of the play, inviting audiences to grapple with questions of 

identity, power, and the absurdity of human existence.

· How many times the ‘knocking at the door’ happens in the play? Is it creating menacing effect while viewing the movie?

Answer:- 

Play "The Birthday Party," the knocking at the door occurs multiple times throughout the story. The exact number of times can vary depending on the production, directorial choices, and interpretation of the play. However, typically, the knocking is used as a recurring motif to create tension, uncertainty, and a sense of impending threat.

When adapted into a film, the knocking at the door can indeed create a menacing effect, especially when combined with cinematic techniques such as sound design, camera angles, and pacing. The visual and auditory aspects of filmmaking allow directors to heighten the suspense and amplify the sense of dread associated with each instance of knocking.

By controlling factors such as lighting, music, and the timing of the knocks, filmmakers can manipulate the viewer's emotions and enhance the overall atmosphere of suspense and unease. Additionally, the close-up shots and intimate framing common in film can intensify the impact of each knock, making it feel more immediate and menacing to the audience.

Overall, the knocking at the door serves as a powerful dramatic device in both the play and its film adaptations, contributing to the sense of mystery and tension that permeates the narrative.

· How are ‘silences’ and ‘pauses’ used in the movie to give effect of lurking danger – how it helps in building the texture of comedy of menace.

Answer:- 

In the film adaptation of "The Birthday Party," silences and pauses are masterfully utilized to evoke a sense of lurking danger and psychological unease, enhancing the texture of the comedy of menace. These strategic pauses create tension, ambiguity, and suspense, allowing viewers to delve into the characters' inner thoughts and emotions. By punctuating key moments with silence, the film builds a palpable atmosphere of uncertainty and unpredictability, drawing audiences deeper into the enigmatic world of the story while heightening the sense of impending danger.

· Comment upon the use of things like mirror, toy drum, newspapers, breakfast, chairs, window-hatch etc in the movie. What sort of symbolic reading can you give to these objects?

Answer:- 

In "The Birthday Party," various objects are employed symbolically to enrich the narrative and deepen its thematic layers. Here's a brief analysis of some of these objects and their symbolic significance in the film adaptation:

Mirror: The mirror can symbolize self-reflection and introspection. In the context of "The Birthday Party," it may reflect the characters' inner turmoil, fragmented identities, and the existential crisis they face. The mirror could also represent a distorted perception of reality, highlighting the characters' inability to see themselves clearly.

Toy Drum: The toy drum may symbolize childhood innocence and the passage of time. Its presence in the film could evoke nostalgia for simpler times and serve as a reminder of lost innocence amidst the chaos and uncertainty of adulthood.

Newspapers: Newspapers can symbolize information, communication, and the outside world. In "The Birthday Party," the newspapers may represent the intrusion of external forces into the characters' isolated existence, as well as the dissemination of truth and propaganda.

Breakfast: Breakfast can symbolize routine, domesticity, and the mundane aspects of everyday life. In the film, the breakfast scenes may underscore the banality of the characters' existence and serve as a contrast to the underlying tension and existential angst that permeates the narrative.

Chairs: Chairs can symbolize authority, social hierarchy, and power dynamics. In "The Birthday Party," the positioning and movement of chairs may reflect shifts in power and control among the characters, as well as their struggle for dominance within the confined space of the boarding house.

Window-hatch: The window-hatch may symbolize confinement, isolation, and the inability to escape one's circumstances. Its presence in the film reinforces the characters' sense of entrapment within the boarding house and underscores the claustrophobic atmosphere of the narrative.

Overall, these objects serve as potent symbols in "The Birthday Party," enriching the thematic exploration of identity, power, and existential angst. Their presence in the film adds depth and complexity to the story, inviting viewers to engage with the deeper layers of meaning embedded within the narrative.

· How effective are scenes like ‘Interrogation scene’ (Act 1), ‘Birthday Party scene’ (Act 2) and ‘Faltering Goldberg & Petey’s timid resistance scene’ (Act 3) captured in the movie?

Answer:- 

The effectiveness of scenes like the "Interrogation scene," "Birthday Party scene," and "Faltering Goldberg & Petey's timid resistance scene" in the film adaptation of "The Birthday Party" depends on various factors such as direction, acting, cinematography, and editing. Here's a brief overview of how these scenes may be captured in the movie:

Interrogation scene (Act 1): In this scene, the tension escalates as Goldberg and McCann interrogate Stanley, leading to a confrontation filled with psychological manipulation and intimidation. The effectiveness of this scene in the movie hinges on the actors' performances, with particular emphasis on conveying the mounting pressure and sense of menace. Tight close-up shots and dynamic camera angles may be used to intensify the psychological drama and highlight the power dynamics at play.

Birthday Party scene (Act 2): The Birthday Party scene is a pivotal moment in the play, where the seemingly mundane celebration descends into chaos and surrealism. In the film adaptation, the director may choose to emphasize the disorientation and absurdity of the scene through inventive visual techniques, such as surreal imagery, unconventional framing, and dissonant sound design. The juxtaposition of banal dialogue with moments of heightened emotion and surrealism can enhance the scene's impact and underscore its thematic significance.

Faltering Goldberg & Petey's timid resistance scene (Act 3): In this scene, Goldberg's and Petey's interactions may reveal cracks in Goldberg's façade of authority and Petey's underlying resistance to his manipulation. The effectiveness of this scene in the film adaptation depends on the actors' ability to convey the subtleties of their characters' inner turmoil and conflicting motivations. Close-up shots and nuanced performances can highlight the characters' psychological complexities and add depth to their interactions.

Overall, the effectiveness of these scenes in the film adaptation of "The Birthday Party" relies on the director's ability to capture the nuances of Pinter's text while leveraging the visual and auditory elements of cinema to enhance the dramatic impact. When executed successfully, these scenes can engage viewers emotionally and intellectually, drawing them deeper into the enigmatic world of the story.

Post-Viewing Tasks:

 . Why are two scenes of Lulu omitted from the movie?

Answer:-

In the film adaptation of "The Birthday Party," certain scenes involving the character Lulu may have been omitted for reasons related to narrative focus, pacing, character development, and adaptation constraints. These omissions serve to streamline the storyline, maintain pacing, and prioritize the central themes and characters of the film adaptation.

· Is movie successful in giving us the effect of menace? Where you able to feel it while reading the text?

Answer:-

The success of a film adaptation in conveying the effect of menace from the original text, such as "The Birthday Party," can vary depending on the director's interpretation, the performances of the actors, and the overall atmosphere created in the film. While reading the text of "The Birthday Party," one may indeed feel a sense of menace emanating from the cryptic dialogue, the mysterious characters, and the oppressive atmosphere of the boarding house.

In the film adaptation, the director may use visual and auditory elements to enhance this sense of menace, such as cinematography, lighting, sound design, and editing. Close-up shots, low-key lighting, and ominous music can heighten the tension and create a foreboding atmosphere. Additionally, the actors' performances play a crucial role in conveying the underlying threats and psychological complexities of the characters.

Ultimately, whether the film adaptation successfully captures the effect of menace depends on the viewer's interpretation and subjective experience. Some viewers may find the film adaptation effectively conveys the sense of menace present in the original text, while others may feel that certain elements are lost or diluted in the transition to the screen.

· Do you feel the effect of lurking danger while viewing the movie? Where you able to feel the same while reading the text

Answer:-

In both reading the text and viewing the film adaptation of "The Birthday Party," audiences are likely to experience a sense of lurking danger and unease. Harold Pinter's masterful use of language, subtext, and dramatic tension in the play effectively creates an atmosphere of menace and uncertainty, which can be felt by readers.

Similarly, in the film adaptation, directors often employ visual and auditory techniques to enhance this feeling of danger. Through cinematography, lighting, sound design, and pacing, filmmakers can create a sense of foreboding and suspense that mirrors the tension found in the original text. Close-up shots, shadowy lighting, and eerie music can all contribute to the atmosphere of menace, making viewers feel on edge and apprehensive about what might unfold next.

Overall, whether experienced through reading the text or viewing the film, the effect of lurking danger in "The Birthday Party" is a central aspect of its appeal, drawing audiences into its enigmatic world and keeping them captivated until the very end.

.What do you read in 'newspaper' in the movie? Petey is reading newspaper to Meg, it torn into pieces by McCain, pieces are hidden by Petey in last scene.

Answer:-

In "The Birthday Party," the contents of the newspaper that Petey is reading to Meg are not explicitly stated in the text, as Harold Pinter focuses more on the characters' interactions and the atmosphere of the play rather than specific details of the newspaper articles. However, the newspaper serves as a symbolic prop, representing the outside world and providing a contrast to the isolated and insular environment of the boarding house.

The tearing of the newspaper by McCann and Petey's subsequent actions of hiding the torn pieces in the final scene suggest a disruption of communication and an attempt to conceal or distort information. This action may symbolize the characters' attempts to maintain control over their environment and shield themselves from external influences, particularly those that threaten their sense of security or stability.

Overall, while the specific content of the newspaper is left ambiguous, its presence and manipulation by the characters contribute to the overall atmosphere of tension, secrecy, and psychological complexity in "The Birthday Party."

.Camera is positioned over the head of McCain when he is playing Blind Man's Buff and is positioned at the top with a view of room like a cage (trap) when Stanley is playing it. What interpretations can you give to these positioning of camera? 

Answer:-

The positioning of the camera in these scenes of "The Birthday Party" can be interpreted as symbolic of the power dynamics and psychological states of the characters involved:

Camera Over McCain's Head during Blind Man's Buff: By positioning the camera over McCain's head during the game of Blind Man's Buff, the director may be symbolically placing the viewer in the perspective of power. This framing suggests that McCain holds a position of authority or control within the game, as he is the one who is "it" and is seeking to catch the other characters. It also reinforces the sense of surveillance and intimidation, as McCain's gaze (and by extension, the viewer's gaze) looms over the other characters, creating a feeling of vulnerability and unease.

Camera at the Top with a View of the Room like a Cage (Trap) during Stanley's Turn: When the camera is positioned at the top with a view of the room, resembling a cage or trap, during Stanley's turn in the game of Blind Man's Buff, it may symbolize his sense of entrapment or vulnerability. This framing suggests that Stanley is being observed or controlled by unseen forces, heightening the tension and reinforcing the theme of powerlessness. Additionally, the imagery of the room as a cage or trap underscores the characters' psychological confinement within the boarding house, further emphasizing their sense of isolation and alienation.

Overall, the positioning of the camera in these scenes of "The Birthday Party" serves to reinforce the power dynamics, psychological tension, and thematic motifs of surveillance and confinement present in Harold Pinter's play.

.Pinter restored theater to its basic elements: an enclosed space and unpredictable dialogue, where people are at the mercy of one another and pretense crumbles." (Pinter, Art, Truth & Politics: Excerpts from the 2005 Nobel Lecture). Does this happen in the movie?

Answer:-

In the film adaptation of "The Birthday Party," directed by William Friedkin, elements of Harold Pinter's theatrical style, such as the use of enclosed space, unpredictable dialogue, and the unraveling of pretense, can be observed. Characters are confined within the boarding house, engaging in cryptic exchanges that reveal their vulnerabilities and insecurities. As tensions escalate, pretenses crumble, exposing the characters' inner turmoil and the unpredictability of human interaction.

· How does viewing movie help in better understanding of the play ‘The Birthday Party’ with its typical characteristics (like painteresque, pause, silence, menace, lurking danger)?

Answer:-

film adaptation of "The Birthday Party" provides a dynamic and immersive experience that amplifies the understanding of Harold Pinter's typical characteristics. Through visual storytelling, auditory cues, and nuanced character portrayals, viewers are enveloped in the world of the play, allowing them to more fully grasp its atmosphere of menace, lurking danger, and psychological depth. This multi-sensory approach enhances comprehension of Pinter's distinctive style, emphasizing the importance of pauses, silence, and the interplay of power dynamics among the characters. Overall, the film adaptation offers a rich and evocative exploration of the play's themes and motifs, deepening the audience's appreciation and understanding of Pinter's masterful storytelling.

· With which of the following observations you agree:

o “It probably wasn't possible to make a satisfactory film of "The Birthday Party."

o “It's impossible to imagine a better film of Pinter's play than this sensitive, disturbing version directed by William Friedkin”[3]. (Ebert)

· If you were director or screenplay writer, what sort of difference would you make in the making of movie?

· Who would be your choice of actors to play the role of characters?

     Do you see any similarities among Kafka's Joseph K. (in 'The Trial'), Orwell's Winston Smith (in 'Nineteen Eighty-Four') and Pinter's Victor (in 'One for the Road')?

Answer:-

The first observation suggests skepticism about successfully adapting "The Birthday Party" into a film, while the second praises William Friedkin's adaptation.

As a director or screenwriter, enhancing visual and auditory aspects and casting actors who can convey subtlety and intensity would be priorities.

Kafka's Joseph K., Orwell's Winston Smith, and Pinter's Victor share similarities in grappling with oppressive systems and psychological torment.

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Pinter Pause: One of the "two silences"–when Pinter's stage directions indicate pause and silence when his characters are not speaking at all–has become a "trademark" of Pinter's dialogue and known as the "Pinter pause”. There are two silences. One when no word is spoken. The other when perhaps a torrent of language is being employed. This speech is speaking of a language locked it. That is its continual reference. The speech we hear is an indication of that which we don't hear. It is a necessary avoidance, a violent, sly, anguished or mocking smoke screen which keeps the beneathother in its place. When true silence falls we are still left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness.

Pinter once said in an interview: “We have heard many times that tired, grimy phrase: 'failure of communication' … and this phrase has been fixed to my work quite consistently. I believe the contrary. I think that we communicate only too well, in our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rearguard attempts to keep ourselves to ourselves. Communication is too alarming. To enter into someone else's life is too frightening. To disclose to others the poverty within us is too fearsome a possibility. I am not suggesting that no character in a play can never say what he in fact means. Not at all. I have found that there invariably does come a moment when this happens, when he says something, perhaps, which he has never said before. And where this happens, what he says is irrevocable, and can never be taken back.”

The atmosphere of menace is also created by Pinter’s ability to drop suddenly from a high comic level to one of deep seriousness. Illustrations from the text? (read news – news about child birth, happy to feel nostalgic about piano show – remembrance of present state, interrogation, birthday party’s play – strangle/rape)

By this technique the audience is made aware that the comedy is only at surface layer. The sudden outbreaks of violence (verbal / physical?) in the play confirm this and leave the audience unsure of what will come next. Illustrations from the text? (interrogation scene)

There is fear in the play. Fear of what? Several things! By whom? Just as Stanley (or Meg) is the main vehicle for comedy in the play, so is he the main vehicle for the presentation of fear. Are any other characters frightened? Illustrations from the text? (All the characters are suffering from the fear of unknown. Perhaps they laugh to forget their fear, they live in past or avoid to see in mirror – because of fear). (Pg 78 to 82)

The room or house represents security from the outside world but sadly it is impossible to sustain. The menace in the form of Goldberg and McCann represents a hostile outside world. They are the exception to the rule where life is normal and pleasant outside (and inside until they arrive!).

The general setting of the play is naturalistic and mundane, involving no menace. However one of Pinter’s greatest skills is his ability to make an apparently normal and trivial object, like a toy drum, appear strange and threatening. Pinter can summon forth an atmosphere of menace from ordinary everyday objects and events, and one way in which this is done is by combining two apparently opposed moods, such as terror and amusement. Much of Birthday Party is both frightening and funny. Stanley is destroyed by ‘a torrent of words’, but mingled in with the serious accusations eg "He’s killed his wife" are ones which are trivial and ludicrous eg "Why do you pick your nose?"

eg The "sitting down" sequence - funny but threatening.

eg Stanley’s behavior during the game - funny but terrifying, because the audience are aware that much more is at stake than appears on the surface - the subtext! This is one source of menace, namely the audience’s awareness that trivial actions are often concealing thoughts and events of much larger significance.

It may be that the audience feels a sense of guilt at their own laughter - forced into it against their will.

Another technique that Pinter uses to create an atmosphere of menace is to cast doubt on almost everything in the play. One method of doing this is to have a character give a clear and definite statement and then have him flatly deny it later on. Illustrations from the text? (Stan’s piona concert, Nat and McCann’s threat and then alluring promise; Meg’s Belle of Ball way of remembering birthday night).

The nature of reality here is confused - the audience no longer knows what is or is not true and out of this comes an atmosphere of mystery and uncertainty. Pinter does not give background information about the characters in Birthday Party. This means the characters are not fixed as belonging to any particular place or time! Stanley has no history, he does not belong to anyone or anywhere, he has no family. Other Illustrations from the text? (Meg and Petey remains understated characters, Nat & McCann are enigmatic characters.)

Are Goldberg and McCann emissaries of some secret organisation that Stanly has betrayed? Or male nurses sent out to fetch him back to an asylum from which he has escaped? Or agents/messengers from another world? The questions are never answered.

Reverse dramatic irony: In traditional dramatic irony, the audience knows what the actors don't. In Pinter the characters have secrets we never discover. (Illustrations form the text – all characters hide some facts from audience)