• Research Paper on:
    Harold Pinter's Betrayal

    Number of Pages: 9

     

    Summary of the research paper:

    In nine pages this paper examines the life and motivation of playwright Harold Pinter as it relates to Betrayal and also includes a thematic examination as well as a synopsis and overview of the play. Three sources are cited in the bibliography.

    Name of Research Paper File: D0_MBpinter.rtf

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    Unformatted Sample Text from the Research Paper:
    composer, or director to produce that work of art. Most art, it has been said, is born of pain. If this is true, then, what sort of turmoil led Harold  Pinter to create his play, Betrayal? WHO IS HAROLD PINTER? "The condition of being bombed has never left me," Pinter has said. Surviving the bombing of London during World War  II, he was among the thousands of children sent out of the town to live in the country with relatives. Many who returned to London later, would never be reunited  with their families again. Fortunately for Pinter, his parents were able to meet up with him in the countryside. He and his family returned to London when Pinter was fourteen.  It would not be long before his opinions and his rather loud voice would be heard and cause him great trouble. Acting as a conscientious objector in the wars  which would follow he faced jail time. However, a lenient judge determined only to fine him for his actions. It seems that during this time Harold Pinter was also  in search of himself, having changed his name several times. One name was Harold Pinta, and another time David Baron. It was as David Baron that he began to write  plays for the stage. Before this time, he had acted and directed several inconsequential plays and had written a few short stories. Then, when he turned his hand to plays,  things fell into place. Pinters plays are very esoteric in nature and are generally kept in a single location, usually a small unremarkable room. The main character is persecuted  in many ways, either by forces seen or unseen whose whose precise intentions neither the characters nor the audience can define(Pinter 2003). Interestingly enough, most often the characters are struggling 

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