RT info:eu-repo/semantics/article
T1 Harold Pinter y The Birthday Party: el discurso de la incomunicación
A1 Mateo Martínez, José
AB Drama is usually described as a recreation of life out of life. When anaudience attends a performance, they expect a reflection on their lives,feelings and problems. Dramatic discourse used on the stage commonlyresembles, at least in modem plays, colloquial speech in daily use. But whathappens when an author deliberately changes this familiar language into anaggressive instrument that blurs the necessary interaction between hischaracters and between himself and his audience? The result is a concealingof thoughts and feelings and the generation of isolation and absence ofsolidarity.Pinter is an author in this guise. He likes to use dramatic dialogueswith the paradoxical intention of creating a lack of understanding anduneasiness among the public who read or see his plays. We believe thatmost Pinter's works can be approached from a pragmatic and discourseanalysis perspective. We can, then, study the different layers ofcommunication or the adequacy of his speech to the four Gricean maxims.This kind of analysis provides the critic with a powerful insight into theliterary and linguistic clues of those authors who, like Pinter in his play TheBirthday Party, consider dramatic discourse as a subversive andprovocative art.
SN e-2530-8335
YR 1992
FD 1992
LK http://riull.ull.es/xmlui/handle/915/30901
UL http://riull.ull.es/xmlui/handle/915/30901
LA es
DS Repositorio institucional de la Universidad de La Laguna
RD 27-jun-2024