Emptiness within emptiness may be Pinter’s specialty, but now he has a Nobel Prize to keep him company.
Terry Teachout, in the WSJ (neither he nor they leftis), praises Pinter, while noting the reputation squandered in the last few years by the Nobel committee in his “Another Left Turn at Stockholm.”.
New York Times: ”Pinter restored theater to its basic elements: an enclosed space and unpredictable dialogue where people are at the mercy of each other and pretense crumbles,” the academy said.” The Times observes that “Usually enclosed in one room, they [characters] organize their lives as a sort of grim game and their actions often contradict their words. Gradually, the layers are peeled back to reveal the characters’ nakedness.” (Am I still sleepy or does this article seem to not be written all that well – for instance, when did Knut Ahnlund, 82, resign?)
Update: AL Daily adds more. (Earlier I had obits, sorry.)
In my youth Pinter’s scripts pulled me in. His emptiness, like Antonioni’s, spoke to my aimless youth during the late sixties and seventies. But the attraction of the abyss they created seems to pull less strongly as I age. Is this idiosyncratic, superficial and personal – or do others feel that difference?