The Absurd Representations of Pinter’s Women: A study into the representation of female characters in the plays of Harold Pinter By Andrew David Clarke A Thesis Submitted to the Victoria University of Wellington In fulfilment of the requirements for the degree of Master of Arts by Thesis In Theatre Studies Victoria University of Wellington 2015 1 Contents Abstract Page 3 Introduction Page 5 Chapter One Positioning Pinter within the Theatre of the Absurd – Page 10 Chapter Two Ruth’s Homecoming. Deconstructing the Dangers of Male Fantasies – Page 26 Chapter Three Emma’s Escape. Striving for self-realisation - Page 48 Chapter Four Celebrating Violent Vixens: Prue, Julie and Suki – Page 66 Conclusion Page 83 Works Cited Page 87 Appendix I A brief reflection on Cleanskin – Page 91 Appendix II Creative Component - Cleanskin – Page 100 2 Abstract This thesis is concerned with analysing the representation of the female characters found in a sample of Harold Pinter’s plays. The plays examined are The Homecoming (1964), Betrayal (1978) and Celebration (1999). Through a close reading of the texts and reference to past interpreters this work attempts to locate Harold Pinter within the theatrical topography, concentrating on his convergence with the Absurdist genre. This research then assesses the extent to which Pinter’s characters exhibit the conventions pertinent to the genre and Pinter’s unique playwriting style, with particular reference to the dissonance in representation present between male and female characters. To conclude, the project reacts to the inequality present in Pinter’s depiction of female characters, which informs the construction of a theatrical play script, titled Cleanskin. 3 A Brief Note on the Format of this Thesis Seeing as grammar is one of the core aspects of Pinter’s plays, with hesitations in speech being denoted by an ellipsis, this thesis will employ a different piece of grammar to show when a section of his plays has been omitted to prevent confusion. In the instances where text has been omitted from the plays of Harold Pinter, rather than the usual ellipsis (“…”) an ellipsis that is surrounded by square brackets (“[…]”) shall be employed. 4 Introduction In his Nobel Prize acceptance speech in 2005, Harold Pinter reflects on the nature of truth within the dramatic form. The search is your task. More often than not you stumble upon the truth in the dark, colliding with it or just glimpsing an image or a shape which seems to correspond to the truth, often without realising that you have done so. But the real truth is that there never is any such thing as one truth to be found in dramatic art. There are many. These truths challenge each other, recoil from each other, reflect each other, ignore each other, tease each other, are blind to each other (“Harold Pinter: Nobel Lecture: Art, Truth & Politics”). Perhaps it is the same urge, that same search for truth, which drives academic studies such as this one. Of course, such a high aspiration, that of the acquisition of a unified truth, cannot be found in the following thesis. Rather, what follows is a brief examination of a fraction of the contribution that Pinter has made to the western canon of dramatic literature, refined further by a very specific investigation. One can only hope that there will be a glimpse of that elusive image or shape. In Robert Gordon’s book, Harold Pinter: The Theatre of Power, he proposes that Harold Pinter’s plays are concerned with four primary and recurrent notions. Throughout his playwriting career Pinter shifts focus on core structural elements or calls upon different thematic motifs, yet his main concerns remain reasonably consistent. Gordon classifies these four concerns, or notions, as the following: 1. The territorial imperative 2. The exercise of power through the language of authority 3. Sex, gender, and the construction of identity 4. Questions of time and memory (R. Gordon 2-3). 5 Whilst these four notions are all interwoven, and this work will address them throughout, it is the third that is most pertinent to this thesis. Gordon expands on this notion: Sex, gender and the construction of identity: focuses on how the performance of gender is formative in the construction of identity, and how sexuality manifests itself through, between and across gendered identities, manifesting its force in language and behaviour. Exploiting the sophisticated wordplay of the English comedy of manners in a postmodern context, the play challenges realist assumptions about behaviour, revealing character as performance, whose truth is relative to the context and form of enactment (R. Gordon 2-3). This research is interested in the positioning of the genders within the works of Harold Pinter – specifically the manner in which his female characters are drawn and rendered for an audience. To investigate this thread of Pinter’s works, this thesis shall open with an analysis of Harold Pinter’s relationship with the genre movement with which he is most frequently associated with, that of the Theatre of the Absurd. It will analyse how Pinter’s dramaturgy, which has remained elusive throughout his entire career, overlaps with specific elements of the Absurdist movement. This analysis will incur a close reading of Pinter’s texts, identifying various techniques and characterisations to help formulate an insight into his characters. To manufacture a general view of Harold Pinter's works and his portrayal of female characters this project will employ three plays and use them as case studies. The plays are The Homecoming (1964), Betrayal (1978) and Celebration (1999). The plays have been selected, not only because they are some of the most well recognised and regarded of his works, but also because their writing and original production dates occur at either end of Harold Pinter's career. This will allow the researcher to comment on any changes in how critics, and indeed Pinter himself, have, or have not, altered their commentary in regards to the orientation of female characters in these plays. This thesis will respond to the foundational arguments presented by Pinter’s first critics before comparing and contrasting these examinations with present day readings. Through this analysis, I 6 hope to synthesise a greater understanding of the manner in which Pinter’s female characters are represented, whether it can be said that they express complexity and agency, and the manner in which critics have contributed to that understanding. In amongst the critical evaluation that surrounds the career of Harold Pinter there are essays that have investigated this very same question. Alrene Sykes, whose work delves into the female portraits painted by Pinter, questions rather forcibly, Does Pinter say anything more about women than that they are mothers, wives and whores? Not, I think, a great deal. His young women characters have a lot in common. They seem to be sophisticated, attractive, highly sexed…for the most part Pinter’s women are supremely controlled, supremely enigmatic (106). The analysis of one of Pinter’s most frequent commentators, Martin Esslin, appears to correlate with Sykes’. He extends the observation to outline how this paradigm, an idea which shall be referred to as the mother/wife/whore paradigm, is prevalent throughout, at the very least, Pinter’s early works. The reoccurrence of this model appears to point to a restrictive representation of female characters within the plays of Pinter. As has been noted by past critics, Pinter’s works continually demand that female characters be shoehorned into one of these three roles, or, when called upon by the male characters of the play, to shift effortlessly between them. If a character is unable to fulfil the role they are often insulted or ostracised by their male counterparts. Such a limited set of archetypes cannot point to truly multi-faceted and complex female characters within Pinter’s canon. There is no doubt that female characters should have evolved out of this simplistic system of characterisation. This thesis is concerned with examining whether these claims are valid and present within Pinter’s works. It is also interested in tracking any potential change in Pinter’s dramaturgy as his canon develops. Can particular stereotypes or archetypes be noted in Pinter’s earlier plays that are later banished, disassembled or reinforced? This thesis is also interested in highlighting critical analysis that draws unflattering, and in some cases even misogynistic, sketches of some of Pinter’s female characters. As this project will go on to note, there are many instances, especially in the case of Ruth from The Homecoming, in which critics have tarnished 7 or perverted possible readings of female characters found in his works. Time will be devoted to pointing out critical evaluations that this researcher feels are now out-dated and, in some cases, harmful to the evolution and our understanding of these female characters. As per the quote above, Gordon postulates that gender as identity can be rooted in specific language conventions and traits; that each gender wields language in a specific manner to assert their status and power. Gordon also states that the construction of a sense of self originates through the use of language. This project is interested in how these traits manifest themselves within Pinter’s dramaturgy. Are there examples of particular language traits that, not only lend themselves to greater representation, but also seem to be the sole property of one gender? This research will also investigate the extent to which Pinter’s dramaturgy connects with the Theatre of the Absurd. Genres help to establish form and provide frameworks, rules and conventions through which a critic can analyse the specific works. They also help to provide context and meaning for the actions of each characterisation. This thesis shall operate under the assumption that through an understanding of Pinter’s relationship with the Theatre of the Absurd, one will be provided with an insight into how successful his representation of various characters are. As will be examined, Pinter’s dramaturgy is hard to locate precisely, as he appears to only make use of a narrow range of Absurdist techniques – thus the invention of the Pinteresque. It is this project’s contention that Pinter, as a fringe Absurdist writer, utilises a limited number of conventions and traits and it is through these traits that his characters are given significance, agency and complexity. This thesis argues, and will operate under the assumption that, if playwrights provide the opportunity for their characters to utilise conventions and traits then this can serve as evidence for their more nuanced representation. It is proposed at the outset to this investigation that Pinter’s male characters are given full access to the traits that define his dramaturgy, whilst his female characters are frequently denied access, thus hindering their representation. At the end of this project there can be found a theatrical play script, titled Cleanskin, and a brief analysis. The creation of this script was informed by the 8 findings of this research into Harold Pinter’s female characters, with particular emphasis placed on subverting tired tropes present in his dramaturgy. The script endeavours to place a female character within an Absurdist narrative - one that is reminiscent of Pinter’s unique style. This female character is designed to express agency and complexity within the play’s narrative. It is also constructed to emulate a concept proposed by Michael Y. Bennett titled “The Female Absurd” in his book Reassessing the Theatre of the Absurd (102). Through this experiment I hope to extend my own playwriting knowledge by challenging my creative prejudices when it comes to drawing characters of either gender. The outcome of this practical investigation will provide an artistic work that contrasts, and so compliments, the positioning of female characters in Pinter's plays, thus strengthening the researcher’s understanding of the topic and contributing an original work to this field of study. 9 Chapter One - Positioning Pinter within the Theatre of the Absurd. “That word! These damn words and that word “Pinteresque” particularly – I don’t know what they’re bloody well talking about” (Pinter qtd in Smith 64). It is a phrase often repeated within the analysis of Harold Pinter, almost to the point of cliché, that his dramaturgy remains elusive. His idiosyncratic style overlaps with two distinct genres – that of a realist mode of theatre and The Theatre of the Absurd – and usually shifts when one attempts to pull focus on any particular element or trait. The phrase from the quote at the heading of this chapter (“Pinteresque”) is a term sometimes glibly used to reference the very unique linguistic traits that populate Pinter's plays. It refers to the “... character’s peculiar mannerisms of verbal repetition and circumlocution” and also used, with specific reference to Pinter's early plays, “to indicate the peculiar – and unresolved – that characterizes each of these fragmented thrillers” (R. Gordon 4-6). This phrase has been employed because, whilst there have been attempts to categorize Pinter's dramaturgy, they have remained just that – attempts. However, they are important to note as they do provide, if only a partial, insight into the workings of a Pinter play. To reiterate, it is this thesis’ contention that through a greater understanding of the intricacies of Pinter’s dramaturgy that one can gain a clearer understanding of how he renders his characters. Pinter is frequently associated with the dramatic movement titled “The Theatre of the Absurd”. Martin Esslin first coined this term in the 1960’s. Esslin postulated that playwrights such as Samuel Beckett and Eugene Ionesco all shared similar writing styles and conventions, which could be grouped together to form a distinctive theatrical movement. Esslin writes: The Theatre of the Absurd is a return to old, even archaic, traditions... what may strike the unprepared spectator as iconoclastic and incomprehensible innovation is in fact merely an expansion, revaluation, and development of procedures that are familiar and completely acceptable in only slightly different contexts (“The Theatre of the Absurd” 233). 10