English playwright who achieved international renown as one of the most complex and challenging post-World War II dramatists. His plays are noted for their use of understatement, small talk, reticence—and even silence—to convey the substance of a character's thought, which often lies several layers beneath, and contradicts, his speech.
The son of a Jewish tailor, Pinter grew up in London's East End in a working-class area. He studied acting at the Royal Academy of Dramatic Art in 1948 but left after two terms to join a repertory company as a professional actor. Pinter toured Ireland and England with various acting companies, appearing under the name David Baron in provincial repertory theatres until 1959. After 1956 he began to write for the stage: The Room (1957) and The Dumbwaiter (1957), his first two plays, are one-act dramas that established the mood of comic menace that was to figure largely in his early plays. His first full-length play, The Birthday Party (1958; filmed 1968), puzzled the London audiences and lasted only a week, but later it was televised and revived successfully on the stage.
After Pinter's radio play A Slight Ache (1959) was adapted for the stage, his reputation was secured by his second full-length play, The Caretaker (1960; filmed 1963), which established him as more than just another practitioner of the then-popular Theatre of the Absurd. His next major play, The Homecoming (1965), helped establish him as the originator of a unique dramatic idiom. Such later plays as Landscape (1969), Silence (1969), Night (1969), and Old Times (1971) virtually did away with physical activity on the stage. Pinter's later successes included No Man's Land (1975) and Betrayal (1978). From the 1970s on, Pinter did much directing, of both his own and others' works. His Poems and Prose 1941–1977 was published in 1978.
Pinter's plays are ambivalent in their plots, presentation of character, and endings, but they are works of undeniable power and originality. They typically begin with a pair of characters whose stereotyped relations and role-playing are disrupted by the entrance of a stranger; the audience sees the psychic stability of the couple break down as their fears, jealousies, hatreds, sexual preoccupations, and loneliness emerge from beneath a screen of bizarre yet commonplace conversation. In The Caretaker, for instance, a wheedling, garrulous old tramp comes to live with two neurotic brothers, one of whom underwent electroshock therapy as a mental patient. The tramp's attempts to establish himself in the household upset the precarious balance of the brothers' lives, and they end up evicting him. The Homecoming focuses on the return to his London home of a university professor who brings his wife to meet his brothers and father. The woman's presence exposes a tangle of rage and confused sexuality in this all-male household, but in the end she decides to stay with the father and his two sons after having accepted their sexual overtures without protest from her overly detached husband.
Dialogue is of central importance in Pinter's plays and is perhaps the key to his originality. His characters' colloquial speech consists of disjointed and oddly ambivalent conversation that is punctuated by resonant silences. The characters' speech, hesitations, and pauses reveal not only their own alienation and the difficulties they have in communicating but also the many layers of meaning that can be contained in even the most innocuous statements.
In addition to works for the stage, Pinter wrote radio and television dramas and a number of successful motion-picture screenplays. Among the latter are those for three films directed by Joseph Losey, The Servant (1963), Accident (1967), and The Go-Between (1971), as well as ones for The Last Tycoon (1974), The French Lieutenant's Woman (1981), and the screen version of Pinter's play Betrayal (1982). --Encyclopedia Britannica
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Acting & Auditioning
