Remember Me
Or use your Academic/Social account:


Or use your Academic/Social account:


You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.


Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message


Verify Password:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Derbyshire, Harry (2008)
Publisher: University of Greenwich
Languages: English
Types: Article
Subjects: PN0080
This short article considers Harold Pinter’s dramatic style, looking at the ways in which it has been defined, imitated and parodied over the years, and concludes with an exploration of the way in which some of Pinter’s work may be seen as self-parody. [From the Author]
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • ------------------------------------ [i] 'Last to Go', in Harold Pinter, Plays: Two (London: Faber, 1991), p. 236.
    • [ii] Kenneth Tynan, A View of the English Stage (London: Methuen, 1984), p. 312.
    • [iii] 'Prompt Corner', Theatre Record, vol. XVI, no. 19, 9-22 Sep 1996, p. 1146.
    • [iv] Fidelis Morgan, Bluff Your Way in Theatre, Bluffers' Guides (London: Ravette, 1986), p. 51.
    • [v] Pinter, speaking at the National Film Theatre, 25th October 1996.
    • [vi] Quoted in Sue Summers, 'Breaking the Silence', London Daily News, 19th June 1987, p. 19.
    • [vii] Victoria Wood, Up to You, Porky (London: Methuen, 1985), p. 91.
    • [viii] Tynan, p. 319.
    • [ix] The Caretaker, in Harold Pinter, Plays: Two (London: Faber, 1991), p. 76.
    • [x] David Mamet, Glengarry Glen Ross (London: Methuen, 1984), p. 3.
    • [xi] Jez Butterworth, The Winterling (London: Nick Hern, 2006), p. 9.
    • [xii] Michael Billington, review of The Winterling, Guardian, 10th March 2006.
    • [xiii] Tynan, p. 308.
    • [xiv] Bill Greenwell, 'A Bear Called Paddington in E.O. Parrott (ed.), Imitations of Immortality: A Book of Literary Parodies (Harmondsworth: Penguin, 1987), p. 320.
    • [xv] See E.O. Parrott (ed.), How to Become Ridiculously Well-Read in One Evening: A Collection of Literary Encapsulations (Harmondsworth: Penguin, 1986), pp. 123-5.
    • [xvi] See Simon Brett (ed.), The Faber Book of Parodies (London: Faber, 1984), pp. 270-1.
    • [xvii] As heard on the CD 40 Glorious Minutes given away with the 40th anniversary edition of Private Eye in 2001.
    • [xviii] As we are reliably informed by Michael Billington in Harold Pinter, 2nd edn (London: Faber, 2007), p. 135.
    • [xix] Night School in Harold Pinter, Plays: Two (London: Faber, 1991), p. 200.
    • [xx] Martin Hoyle, review of Moonlight, Mail on Sunday, 12th September 1993.
    • [xxi] Ronald Knowles, 'From London: Harold Pinter 1996-1997 and 1997-1998', in The Pinter Review: Annual Essays 1997-98 (Tampa: University of Tampa Press, 1999), p. 172.
    • [xxii] Harold Pinter, Press Conference (London: Faber, 2003), pp. 9-10.
    • [xxiii] Pinter, 'Writing for the Theatre', in Pinter: Plays One (London: Faber, 1991), pp. xii-xiii.
  • No related research data.
  • No similar publications.

Share - Bookmark

Cite this article