Harold Pinter

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Against the War Front Row Interview 28th Feb Gaieties 70th Anniversary Something Extra. Pinter's interview Guardian Unlimited. Noam Chomsky Introduction Dec Hyde Park Speech Feb Visit Theatre History. The Pinter Review. Visit the Amnesty website www. News and Events for the year Directed by John Malkovich. The painting was a gift to Pinter from his team mates at Gaieties Cricket Club as a mark of their esteem and gratitude for Pinter's 40 years service to the club.

After the cricket match there will be a concert of words and music in the Long Room in the Lords paviliion to celebrate Harold Pinter's love of cricket. The winning bid in the painting auction will be announced at the concert. When speaking he almost always tends to excessive qualification of any statement, as if coming to a final definition of things were obviously impossible. He was not working at any writing projects when the interview took place, and questions about his involuntary idleness many questions came back to it without meaning to were particularly uncomfortable for him. His own work is alternatively a source of mystery, amusement, joy, and anger to him; in looking it over he often discovered possibilities and ambiguities that he had not noticed or had forgotten.

When he wrote his first plays, in , he was homeless, constantly on tour as an actor with a repertory stage company, playing all sorts of parts in obscure seaside resorts and provincial cities. Pinter worked as a caretaker to pay his rent. When their son was born they borrowed enough money to move to a less shabby district in Chiswick, but both had to return to full-time acting when Mr.

Pinter moved his family to a bowfronted Regency house in the south-coast seaside town of Worthing. But the two-hour drive to London became imperative too often, and so they moved once again, to a rented flat in Kensington, until Mr.

Harold Pinter (Author of The Birthday Party)

Though it is not yet completely renovated, the size and comfort of it are impressive, as is Mr. Bookshelves line one-half the area, and a velvet chaise longue faces the small rear garden. A friend of mine called Henry Woolf was a student in the drama department at Bristol University at the time when it was the only drama department in the country. I was acting in rep at the time, and he told me he had to have the play the next week to meet his schedule. I said this was ridiculous; he might get it in six months. I think he was spooked by the singular conditions of the programme — no prior sight of the questions, no prior discussion, in fact no meeting with the interviewer before the interview.

About the Harold Pinter Society

It was enough to panic Harold, the possibility of a public viva on Wittgenstein. More than that, he was enthusiastic about the work of other writers which appeared in the magazine. In issue one, there was a little sketch by Patrick Marber. Harold left a number on my answer machine.

I rang him back. I read it to Antonia. Did all the parts.

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Introduction to Harold Pinter and his works

Bloody funny. Well done. She then rang me, in a state of shock. Then Harold emailed an explanation and an apology and an acceptance. It explains a lot about Harold and the connection between the writer and the man, why they were of a piece. It often occurs in adolescence: the ordinary person puts these feelings to sleep, or trims down his feeling to fit the business world; the artist keeps it alive by his ability to intensify the world to his emotions [my italics]. We all know what it is like to lose our temper — sometimes about very small things; especially small things — but mostly we control it.

Harold was incapable of tailoring his feelings to fit the social world. That was the price we sometimes paid for the art — willingly. Douglas Murray.

Harold Pinter Interview - Frontrow BBC Radio 4

Ross Clark. James Kirkup. Mary Killen. Robert Peston.


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