Pinter at Sixty -

. .

Résumé :

PREFACE
ACKNOWLEDGMENTS
I. PINTER IN PRODUCTION
1. Pinter in Rehearsal: From The Birthday Party to Mountain Language: Carey Perloff
2. Producing Pinter: Louis Marks
II. POLITICAL PINTER
3. Harold Pinter's Theatre of Cruelty: Martin Esslin
4. Harold Pinter's The Hothouse: A Parable of the Holocaust: Rosette C. Lamont
5. Disjuncture as Theatrical and Postmodern Practice in Griselda Gambaro's The Camp and Harold Pinter's Mountain Language: Jeanne Colleran
6. The Outsider in Pinter and Havel: Susan Hollis Merritt
III. PINTER'S POETICS
7. The Betrayal of Facts: Pinter and Duras beyond Adaption: Judith Roof
8. Image and Attention in Harold Pinter: Alice Rayner
9. Pinter and the Ethos of Minimalism: Jon Erickson
IV. PINTER AND INFLUENCE
10. Xhekhov, Beckett, Pinter: The St(r)ain upon the Silence: Alice N. Benston
11. That first last look: Martha Fehsenfeld
12. A Rose by any other name: Pinter and Shakespeare: Hersh Zeifman
13. From Novel to Film: Harold Pinter's Adaptation of The Trial: Francis Gillen
14. I am Powerful...and I am only the lowest doorkeeper: Power Play in Kafka's The Trial and Pinter's Victoria Station: John L. Kundert-Gibbs
V. PINTER AND FILM
15. Art Objects as Metaphors in the Filmscripts of Harold Pinter: Steven H. Gale
16. Pinter and Bowen: The Heat of the Day: Phyllis R. Randall
VI. Alaskan Perspectives
17. Portrait of Deborah: A Kind of Alaska: Moonyoung C. Ham
18. Deborah's Homecoming in A Kind of Alaska: An Afterword: Katherine H. Burkman
WORKS CITED
CONTRIBUTORS
INDEX