• The Dumb Waiter Harold Pinter Pdf
• The Dumb Waiter Harold Pinter Summary
• The Dumb Waiter Harold Pinter Pdf
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Harold Pinter’s The Dumb Waiter, is not one of these plays. The Dumb Waite r is a play that exists in absurdism, in a state of menial, almost meaningless existence. Absurdism has the power and often the drive to alienate us as audience members and makes us ask what the purpose is in everyday life? The Dumb Waiter is a one-act play by Harold Pinter written in 1957. 'Small but perfectly formed, The Dumb Waiter might be considered the best of Harold Pinter's early plays, more consistent than The Birthday Party and sharper than The Caretaker.It combines the classic characteristics of early Pinter – a paucity of information and an atmosphere of menace, working-class small-talk in a.

Theatre of the Absurd is a genre of plays mainly produced in Europe in the 1950's and 60's. Some of the playwrights considered central to Theatre of the Absurd are Samuel Beckett, Eugène Ionesco, Jean Genet, Arthur Adamov, and Harold Pinter, author of The Dumb Waiter. Plays in the genre generally put forth the idea that life is random or meaningless and show humans struggling to find purpose and control. The plays generally have tones of negativity, tragedy, and boredom, though many also include elements of comedy. The Theatre of the Absurd movement also shocked audiences with revolutionary approaches to language, plot, and character. Compared to theatre of the early 20th century, poignant and metaphorical language and repetitive actions took the place of realistic dialogue and plot.

Theatre of the Absurd was popularized as a genre in large part by Samuel Beckett's 1952 play Waiting for Godot. The influence of Beckett on Pinter, and of Waiting for Godot on The Dumb Waiter, is clear. Both Waiting for Godot and The Dumb Waiter are absurdist, one-act plays in which two male characters wait for a third man to arrive. Both include repetitive dialogue, absurd actions, hierarchy, questions, and a lot of waiting. Pinter acknowledged this influence, once stating in an interview, “If Beckett’s influence shows in my work that’s all right with me. You don’t write in a vacuum: you’re bound to absorb and digest other writing and I admire Beckett’s work so much that something of its texture might appear in my own” (Sadreddini).

Two major elements of absurdity in The Dumb Waiter are lack of action and repetitive dialogue. For example, Gus tries to ask Ben questions throughout the play, but rarely gets answers. This leads to him asking the same question again or asking other questions, increasing the tension between the men but not advancing the plot. Ben finally lashes out at Gus about his questions, saying, 'What's the matter with you? You're always asking me questions. What's the matter with you?...You never used to ask me so many damn questions. What's come over you?...Stop wondering. You've got a job to do. Why don't you just do it and shut up?' (99.) This quote again includes repetitive dialogue, and it clearly underscores themes of struggling with meaninglessness and lack of control.

Characters: BEN

Gus

Critically analyze The Dumb Waiter

The drama ‘The Dumb Waiter’ is written by Harold Pinter in 1957. He has written plays for the commercial stage, radio, television as well as film scripts produced by some of the best directors of his time. In the same year, he wrote the one act the Room and The Birthday Party.

This drama ‘The Dumb Waiter’ belongs to the theatre of absurd. Theatre of the absurd is the 20^th century theatre which holds the belief that it is itself in absurd and meaninglessness. Meaninglessness can be represented in the dramatic elements like setting, plot, characters and dialogue.

Setting: Setting refers to the time and space in which the play takes place. In the traditional drama setting sets the mood temperament and environment. Mostly identifiable settings are chosen for the drama but this drama, does not accord with traditional notion of the setting. Ben and Gus are limited to a tiny basement room. All of their activities are limited there. The limitation of the setting in the basement room shows the limitation of the human life itself. Like Ben and Gus, we all are limited in the narrow space. The scene of flushing toilet, reading newspaper, putting on shoes in the room, a serving hatch and having Gyaratte packet are the things which are included in this drama. These things in the setting are unarranged or muddled. From this type of muddled condition, we can claim that this is the drama of the absurdist. The drama begins with the room, goes continuous and ends within the room. From this point of view comparing to our life, it also begins, continues and ends in the circle of space as shown in the drama.

Plot: The plot refers to the order of the events that happen in a play. Plot is “The imitation of the action as well as the arrangement of the incident” for Aristotle. In the traditional drama, plot is made up of recognizable beginning, middle and end. One event is closely linked with the other. But this drama challenges the traditional notion of the plot too. The events are jumbled together. One event has no connection with another event. There are different events like receiving of the newspaper story, arrival of car, receiving and sending the messages, waiting for a girl, discussion of a figurative language and reminiscence of the mother and so on. All those events are not connected with each other and they are narrated frequently and repeatedly. And the plotlessness of the drama reminds us about the plotlessness of the human life. Life is without plot, coherence, sequence, and routine. Things happen randomly there as in the drama an envelope has been put there but having nothing. That means as an empty envelop.

Dialogue: In the traditional drama dialogue is a means for communication. But in this drama, dialogue itself has blocked the communication. The dialogue is laconic and repetitious. For example, Ben asks ‘light the kettle’ to the Gus but Gus does not understand. It is obviously understood that one wants other to do something else. But instead of performing anything they discuss about the nature of this sentence and about who uses and who does not use this cannot be language or dialogue. This formal communication does not move ahead rather it belongs to the question itself. In the Drama the dialogue for example,

BEN – Stand behind the door.

GUS – Stand Behind the door.

The Dumb Waiter Harold Pinter Pdf

BEN – If there is a known on the door you don’t answer it.

GUS – He won’t see you the door I don’t answer it.

The Dumb Waiter Harold Pinter Summary

BEN – He won’t see me.

Character: “The person presented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual and emotional qualities that are expressed in what they say-the dialogue-and by what they do-the action” Abram (1993). In the conventional play characters are life like and they are easily identifiable. At least in the traditional drama we can identify the relationship between the characters. Sometimes we get an impression that Ben and Gus are the two friends who are sharing the same room. But other time they raise the question of senior and junior which destroys our earlier impression. We do not know who is there in upstairs, nor do we know anything about the relationship between the one upstairs and them downstairs.

The Dumb Waiter Harold Pinter Pdf

This absurd drama symbolically represents the nature of the human existence. In the life we all are free to make choices but once we choose life becomes repetitions and that repetitions produces boredom and it is in the state of the boredom there lies in the human existence. Ben and Gus are free in their life and in this free life they want to choose a job. Like the Dumb Waiter they want to follow the orders in this sense they themselves are the Dumb waiter. We all of us are the Dumb waiter.

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Harold Pinter The Dumb Waiter Amazon

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