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<table border="0" cellpadding="3" cellspacing="1" width="100%" class="forumline"> <tr> <th class="thCornerL" width="22%" height="26">Author</th> <th class="thCornerR">Message</th> </tr> <tr> <td width="22%" align="left" valign="top" class="row1"><span class="name"><a name=""></a><b>xkekg34fa</b></span></td> <td class="row1" height="28" valign="top"><table width="100%" border="0" cellspacing="0" cellpadding="0"> <tr> <td width="100%"><img src="http://picsrv.fora.pl/subSilver/images/icon_minipost.gif" width="12" height="9" alt="Post" title="Post" border="0" /><span class="postdetails">Posted: Thu 6:52, 12 Sep 2013<span class="gen"> </span> Post subject: </span></td> </tr> <tr> <td colspan="2"><hr /></td> </tr> <tr> <td colspan="2"><span class="postbody">From 2005, Pinter suffered ill health, including a rare skin disease called and "a form of that afflict[ed] his feet and made it difficult for him to walk." Yet, he completed his screenplay for the film of Sleuth in 2005. His last dramatic work for radio, (2005), a collaboration with composer , adapting selected works by Pinter to music, premièred on on his 75th birthday on 10 October 2005. Three days later, it was announced that he had won the 2005 Nobel Prize in Literature. <br />From 1956 until 1980, Pinter was married to , an actress whom he met on tour, perhaps best known for her performance in the 1966 film . Their son, Daniel, was born in 1958. Through the early 1970s, Merchant appeared in many of Pinter's works, including on stage (1965) and screen (1973), but the marriage was turbulent. For seven years, from 1962 to 1969, Pinter was engaged in a clandestine affair with BBC-TV presenter and journalist , which inspired his 1978 play , and also throughout that period and beyond he had an affair <a href="http://www.rtnagel.com/airjordan.php" target="_blank" class="postlink">nike air jordan pas cher</a> with an American socialite, whom he nicknamed "Cleopatra". This relationship was another secret he kept from both his wife and Bakewell. Initially, Betrayal was thought to be a response to his later affair with historian , the wife of , and Pinter's "marital crack-up". <br />By the time Peter Hall's London production of The Homecoming (1964) reached in 1967, Pinter had become a celebrity playwright, and the play garnered four , among other awards. During this period, Pinter also wrote the radio play , first broadcast on the in 1959 and then adapted to the stage and performed at the in 1961. A Night Out (1960) was broadcast to a large audience on 's television show , after being transmitted on BBC Radio 3, also in 1960. His play Night School was first televised in 1960 on . premièred at the in 1962, and , adapted from Pinter's then unpublished novel of the same title, was first broadcast on radio in 1960, then adapted for the stage (also at the Arts Theatre Club) in a double bill with , which was then televised on Associated Rediffusion in 1963; and , a play that Pinter developed from his 1963 short story, first broadcast on in 1965. <br />Pinter's acting career spanned over 50 years and, although he often played , included a wide range of roles on stage and in radio, film, and television. In addition to roles in radio and television adaptations of his own plays and dramatic sketches, early in his screenwriting career he made several cameo appearances in films based on his own screenplays; for example, as a society man in (1963) and as Mr. Bell in (1967), both directed by ; and as a bookshop customer in his later film (1985), starring , , and . <br />At the age of 12, Pinter began writing poetry, and in spring 1947, his poetry was first published in the Hackney Downs School Magazine. In 1950, his poetry was first published outside of the school magazine in , some of it under the pseudonym "Harold Pinta". <br />Pinter was born and raised in , east London, and educated at . He was a sprinter and a keen cricket player, acting in school plays and writing poetry. He attended the but did not complete the course. He was fined for refusing as a . Subsequently, he continued <a href="http://www.vivid-host.com/barbour.htm" target="_blank" class="postlink">www.vivid-host.com/barbour.htm</a> training at the and worked in repertory theatre in and England. In 1956 he married actress and had a son, Daniel born in 1958. He left Merchant in 1975 and married author in 1980. <br />Memorial tributes <br />Pinter also adapted other writers' novels to screenplays, including (1964), based on the novel by , directed by ; (1966), from the 1965 spy novel The Berlin Memorandum, by , directed by ; (1976), from the unfinished novel by , directed by ; (1981), from the novel by , directed by ; (1985), based on the novel by ; The Heat of the Day (1988), a television film, from the 1949 novel by ; (1990), from the novel by , directed by ; and (1993), from the novel by , directed by David Jones. <br />Beginning in late 1948, Pinter attended the for two terms, but hating the school, missed most of his classes, feigned a nervous breakdown, and dropped out in 1949. In 1948 he was called up for . He registered as a , was brought to trial twice, and was ultimately fined for refusing to serve. He had a small part in the Christmas at the Hippodrome in 1949 to 1950. From January to July 1951, he attended the . <br />A reclusive gifted musician and writer, Daniel changed his surname from Pinter to Brand, the maiden name of his maternal grandmother, before Pinter and Fraser became romantically involved; while according to Fraser, his father couldn't understand it, she says that she could: "Pinter is such a distinctive name that he must have got tired of being asked, 'Any relation?'" Michael Billington wrote that Pinter saw Daniel's name change as "a largely pragmatic move on Daniel's part designed to keep the press ... at bay." Fraser told Billington that Daniel "was very nice to me at a time when it would have been only too easy for him to have turned on me ... simply because he had been the sole focus of his father's love and now manifestly wasn't." Still unreconciled at the time of his father's death, Daniel Brand did not attend Pinter's funeral. <br />Sport and friendship <br />An Honorary Associate of the , a Fellow of the , and an Honorary Fellow of the (1970), Pinter was appointed in 1966 and became a in 2002, having declined a knighthood in 1996. In 1995, he accepted the , in recognition of a lifetime of literary achievement. In 1996, he received a for lifetime achievement in the theatre. In 1997 he became a Fellow. He received the World Leaders Award for "Creative Genius" as the subject of a week-long "Homage" in Toronto, in October 2001. In 2004, he received the Award for Poetry for his "lifelong contribution to literature, 'and specifically for his collection of poetry entitled War, published in 2003'". In March 2006, he was awarded the Europe Theatre Prize in recognition of lifetime achievements pertaining to drama and theatre. In conjunction with that award, the critic Michael Billington coordinated an international conference on Pinter: Passion, Poetry, Politics, including scholars and critics from Europe and the Americas, held in , Italy, from 10 to 14 March 2006. <br />In his last 25 years, Pinter increasingly focused his essays, interviews and public appearances directly on political issues. He was an officer in , travelling with American playwright to in 1985 on a mission co-sponsored with a committee to investigate and protest against the torture of imprisoned writers. There he met victims of political oppression and their families. Pinter's experiences in Turkey and his knowledge of the Turkish suppression of the inspired his 1988 play . He was also an active member of the Cuba Solidarity Campaign, an organisation that "campaigns in the UK against the US blockade of ". In 2001 Pinter joined the International Committee to Defend Slobodan Milo?evi? (ICDSM), which appealed for a fair trial and for the freedom of , signing a related "Artists' Appeal for Milo?evi?" in 2004. <br />Pinter's last filmed screenplay was an adaptation of the 1970 -winning play , by , which was commissioned by , one of the film's producers. It is the basis for <a href="http://www.2000gtr.com/bbs_cgi/joyful_1/joyful.cgi" target="_blank" class="postlink">hollister sale Luchini fait d</a> the 2007 film , directed by . Pinter's screenplays for and Betrayal were nominated for in 1981 and 1983, respectively. <br />Pinter composed 27 screenplays and film scripts for cinema and television, many of which were filmed, or adapted as stage plays. His fame as a screenwriter began with his three screenplays written for films directed by , leading to their close friendship: (1963), based on the novel by ; (1967), adapted from the novel by ; and (1970), based on the novel by . Films based on Pinter's adaptations of his own stage plays are: (1963), directed by ; (1968), directed by ; (1973), directed by Peter Hall; and (1983), directed by . <br />In December 2001, Pinter was diagnosed with , for which, in 2002, he underwent an operation and . During the course of his treatment, he directed a production of his play No Man's Land, and wrote and performed in a new sketch, "Press Conference", for a production of his dramatic sketches at the National Theatre, and from 2002 on he was increasingly active in political causes, writing and presenting politically charged poetry, essays, speeches, as well as involved in developing his final two screenplay adaptations, The Tragedy of King Lear and Sleuth, whose drafts are in the British Library's (Add MS 88880/2). <br />As director <br />Other interests that Pinter mentioned to interviewers are family, love and sex, drinking, writing, and reading. According to Billington, "If the notion of male loyalty, competitive rivalry and fear of betrayal forms a constant thread in Pinter's work from onwards, its origins can be <a href="http://www.kruicranes.com/viewthread.php?tid=25550&pid=26645&page=1&extra=page%3D1#pid26645" target="_blank" class="postlink">doudoune moncler homme Ugly Betty A TV Array Which Will Never Return</a> found in his teenage Hackney years. Pinter adores women, enjoys flirting with them, worships their resilience and strength. But, in his early work especially, they are often seen as disruptive influences on some pure and ideal of male friendship: one of the most crucial of all Pinter's lost ." <br />Billington observes that "The <a href="http://www.vivid-host.com/barbour.htm" target="_blank" class="postlink">barbour uk outlet</a> break-up with Vivien and the new life with Antonia was to have a profound effect on Pinter's personality and his work," though he adds that Fraser herself did not claim to have influence over Pinter or his writing. In her own contemporaneous diary entry dated 15 January 1993, Fraser described herself more as Pinter's literary midwife. Indeed, she told Billington that "other people [such as , among others] had a shaping influence on [Pinter's] politics" and attributed changes in his writing and political views to a change from "an unhappy, complicated personal life ... to a happy, uncomplicated personal life", so that "a side of Harold which had always been there was somehow released. I think you can see that in his work after [1975], which was a very bleak play." <br />After returning to London from the , in September 2006, Pinter began rehearsing for his performance of the role of in 's one-act , which he performed from a motorised wheelchair <a href="http://www.mansmanifesto.com" target="_blank" class="postlink">doudoune moncler</a> in a limited run the following month at the to sold-out audiences and "ecstatic" critical reviews. The production ran for only nine performances, as part of the 50th-anniversary celebration season of the ; it sold out within minutes of the opening of the box office and tickets commanded large sums from . One performance was filmed and broadcast on on 21 June 2007, and also screened later, as part of the memorial PEN Tribute to Pinter, in New York, on 2 May 2009. <br />BiographyEarly life and education <br />Pinter wrote in 1958, which he shelved for over 20 years (See "Overtly political plays and sketches" below). Next he wrote (1959), which premièred in Germany and was then produced in a with The Room at the , in London, in 1960. It was then not produced often until the 1980s, and it has been revived more frequently since 2000, including the production in 2007. The first production of , at the , in London, in 1960, established Pinter's theatrical reputation. The play transferred to the in May 1960 and ran for 444 performances, receiving an for best play of 1960. Large radio and television audiences for his one-act play , along with the popularity of his revue sketches, propelled him to further critical attention. In 1964, The Birthday Party was revived both on television (with Pinter himself in the role of Goldberg) and on stage (directed by Pinter at the ) and was well received. <br />Revivals in 2008 included the 40th-anniversary production of the American première of The Homecoming on Broadway, directed by . From 8 to 24 May 2008, the celebrated the 50th anniversary of The Birthday Party with a revival and related events, including a gala performance and reception hosted by Harold Pinter on 19 May 2008, exactly 50 years after its London première there. <br />On 18 January 2007, French Prime Minister presented Pinter with France's highest civil honour, the , at a ceremony at the French Embassy in London. De Villepin praised Pinter's poem "American Football" (1991) stating: "With its violence and its cruelty, it is for me one of the most accurate images of war, one of the most telling metaphors of the temptation of imperialism and violence." In response, Pinter praised France's opposition to the war in Iraq. M. de Villepin concluded: "The poet stands still and observes what doesn't deserve other men's attention. Poetry teaches us how to live and you, Harold Pinter, teach us how to live." He said that Pinter received the award particularly "because in seeking to capture all the facets of the human spirit, [Pinter's] works respond to the aspirations of the French public, and its taste for an understanding of man and of what is truly universal". Lawrence Pollard observed that "the award for the great playwright underlines how much Mr Pinter is admired in countries like France as a model of the uncompromising radical intellectual". <br />From 16 to 31 July 2001, a Harold Pinter Festival celebrating his work, curated by , artistic director of the , , was held as part of the annual Lincoln Center Festival at in New York City. Pinter participated both as an actor, as Nicolas in One for the Road, and as a director of a double bill pairing his last play, Celebration, with his first play, The Room. As part of a two-week "Harold Pinter Homage" at the World Leaders Festival of Creative Genius, held from 24 September to 30 October 2001, at the Harbourfront Centre, in Toronto, Canada, Pinter presented a dramatic reading of Celebration (2000) and also participated in a public interview as part of the . <br />I might even show you my photograph album. You might even see a face in it which might remind you of your own, of what you once were. You might see faces of others, in shadow, or cheeks of others, turning, or jaws, or backs of necks, or eyes, dark under hats, which might remind you of others, whom once you knew, whom you thought long dead, but from whom you will still receive a sidelong glance, if you can face the good ghost. Allow the love of the good ghost. They possess all that emotion ... trapped. Bow to it. It will assuredly never release them, but who knows ... what relief ... it may give them ... who knows how they may quicken ... in their chains, in their <a href="http://www.rtnagel.com/louboutin.php" target="_blank" class="postlink">louboutin</a> glass jars. You think it cruel ... to quicken them, when they are fixed, imprisoned? No ... no. Deeply, deeply, they wish to respond to your touch, to your look, and when you smile, their joy ... is unbounded. And so I say to you, tender the dead, as you would yourself be tendered, now, in what you would describe as your life. <br />The final revival during Pinter's lifetime was a production of No Man's Land, directed by , opening at the Gate Theatre, Dublin, in August 2008, and then transferring to the , London, where it played until 3 January 2009. On the Monday before Christmas 2008, Pinter was admitted to , where he died on Christmas Eve from liver cancer. On 26 December 2008, when No Man's Land reopened at the Duke of York's, the actors paid tribute to Pinter from the stage, with Michael Gambon reading Hirst's monologue about his "photograph album" from Act Two that Pinter had asked him to read at his funeral, ending with a standing ovation from the audience, many of whom were in tears: <br />Légion d'honneur <br />In October 2008, the announced that Pinter had agreed to become its president and awarded him an at its graduation ceremony. On his appointment, Pinter commented: "I was a student at Central in 1950–51. I enjoyed my time there very much and I am delighted to become president of a remarkable institution." But he had to receive that honorary degree, his 20th, in absentia owing to ll health. His presidency of the school was brief; he died just two weeks after the graduation ceremony, on 24 December 2008. <br />In a review published in 1958, borrowing from the subtitle of The Lunatic View: A Comedy of Menace, a play by , critic called Pinter's early plays ""—a label that people have applied repeatedly to his work. Such plays begin with an apparently innocent situation that becomes both threatening and "" as Pinter's characters behave in ways often perceived as inexplicable by his audiences and one another. Pinter acknowledges the influence of , particularly on his early work; they became friends, sending each other drafts of their works in progress for comments. <br />In 2005, Pinter stated that he had stopped writing plays and that he would be devoting his efforts more to his political and writing poetry: "I think I've written 29 plays. I think it's enough for me ... My energies are going in different directions—over the last few years I've made a number of political speeches at various locations and ceremonies ... I'm using a lot of energy more specifically about political states of affairs, which I think are very, very worrying as things stand." Some of this later poetry included "The 'Special Relationship'", "Laughter", and "The Watcher". <br />As Pinter's long-time friend David Jones reminded analytically inclined scholars and dramatic critics, Pinter was one of the "great comic writers": <br />Pinter research collections <br />Although still being treated in hospital, Pinter videotaped his Nobel Lecture, "Art, Truth and Politics", at a studio. It was projected on three large screens at the Swedish Academy on the evening of 7 December 2005, and transmitted on that same evening in the UK. The 46-minute lecture was introduced on television by David Hare. Later, the text and streaming video formats (without Hare's introduction) were posted on the Nobel Prize and Swedish Academy official websites. It has since been released as a DVD. <br />From 1951 to 1952, he toured Ireland with the Anew McMaster repertory company, playing over a dozen roles. In 1952 he began acting in regional English repertory productions; from 1953 to 1954, he worked for the Company, at the King's Theatre, , performing eight roles. From 1954 until 1959, Pinter acted under the stage name David Baron. In all, Pinter played over 20 roles under that name. To supplement his income from acting, Pinter worked as a waiter, a postman, a bouncer, and a snow-clearer, meanwhile, according to Mark Batty, "harbouring ambitions as a poet and writer." In October 1989 Pinter recalled: "I was in English rep as an actor for about 12 years. My favourite roles were undoubtedly the sinister ones. They're something to get your teeth into." <a href="http://www.sandvikfw.net/shopuk.php" target="_blank" class="postlink">hollister sale</a> During that period, he also performed occasional roles in his own and others' works for radio, TV, and film, as he continued to do throughout his career. <br />Pinter strongly opposed the 1991 , the 1999 bombing campaign in during the , the United States' 2001 , and the . Among his provocative political statements, Pinter called Prime Minister a "deluded idiot" and compared the administration of President to . He stated that the United States "was charging towards world domination while the American public and Britain's '' prime minister sat back and watched." He was very active in the in the United Kingdom, speaking at rallies held by the and frequently criticising American aggression, as when he asked rhetorically, in his acceptance speech for the Award for Poetry on 18 March 2007: "What would Wilfred Owen make of the ? A bandit act, an act of blatant , demonstrating absolute contempt for the conception of ." <br />"Comedies of menace" (1957–1968)The Room and The Birthday Party (1957) <br />Written in 1957 and produced in 1958, Pinter's second play, The Birthday Party, one of his best-known works, was initially both a commercial and critical disaster, despite an enthusiastic review in by its influential drama critic , which appeared only after the production had closed and could not be reprieved. Critical accounts often quote Hobson: <br />Scholarly response <br />Pinter began to direct more frequently during the 1970s, becoming an associate director of the (NT) in 1973. He directed almost 50 productions of his own and others' plays for stage, film, and television, including 10 productions of works by : the stage and/or film premières of (stage, 1971; film, 1974), (1975), The Rear Column (stage, 1978; TV, 1980), Close of Play (NT, 1979), (1981), Life Support (1997), The Late Middle Classes (1999), and The Old Masters (2004). Several of those productions starred (1934–2003), who originated the stage and screen roles of not only Butley but also Mick in Pinter's first major commercial success, (stage, 1960; film, 1964); and in Pinter's double-bill produced at the in 1984, he played Nicolas in and the cab driver in . Among over 35 plays that Pinter directed were Next of Kin (1974), by ; (1976) by ;, (1976) by ; Circe and Bravo (1986), by ; (1995), by ; and (1996), by . <br />His dramatic conflicts present serious implications for his characters and his audiences, leading to sustained inquiry about "the point" of his work and multiple "critical strategies" for developing interpretations and stylistic analyses of it. <br />On 16 June 2009, Antonia Fraser officially opened a commemorative room at the . The theatre also established a writer's residency in Pinter's name. Most of issue number 28 of 's Arts Tri-Quarterly was devoted to pieces remembering Pinter, beginning with Pinter's 1987 unpublished love poem dedicated "To Antonia" and his poem "Paris", written in 1975 (the year in which he and Fraser began living together), followed by brief memoirs by some of Pinter's associates and friends, including , , , , , , and David Hare. <br />In January 2011 Being Harold Pinter, a theatrical collage of excerpts from Pinter's dramatic works, his Nobel Lecture, and letters of Belarusian prisoners, created and performed by the , evoked a great deal of attention in the . The Free Theatre's members had to be smuggled out of , owing to a government crackdown on dissident artists, to perform their production in a two-week sold-out engagement at in New York as part of the 2011 . In an additional sold-out benefit performance at the , co-hosted by playwrights and , the prisoner's letters were read by ten guest performers: , , , , , , , , , and . In solidarity with the Belarus Free Theatre, collaborations of actors and theatre companies joined in offering additional benefit readings of Being Harold Pinter across the United States. <br />Marriages and family life <br />In February and March 2007, a 50th anniversary of The Dumb Waiter, was produced at the . Later in February 2007, 's film version of Pinter's play Celebration (2000) was shown on (, UK). On 18 March 2007, broadcast a new radio production of The Homecoming, directed by and produced by Martin J. Smith, with Pinter performing the role of Max (for the first time; he had previously played Lenny on stage in 1964). A revival of The Hothouse opened at the National Theatre, in London, in July 2007, concurrently with a revival of Betrayal at the , directed by . <br />During 2000–2001, there were also simultaneous productions of , Pinter's stage adaptation of his unpublished Proust Screenplay, written in collaboration with and directed by , at the , and a revival of directed by and starring , , and , at the . <br />Pinter's funeral was a private, half-hour secular ceremony conducted at the graveside at , 31 December 2008. The eight readings selected in advance by Pinter included passages from seven of his own writings and from the story "", by , which was read by actress . read the "photo album" speech from No Man's Land and three other readings, including Pinter's poem "Death" (1997). Other readings honoured Pinter's widow and his love of cricket. The ceremony was attended by many notable theatre people, including , but not by Pinter's son, Daniel Brand. At its end, Pinter's widow, Antonia Fraser, stepped forward to his grave and quoted from 's speech after the death of : "Goodnight, sweet prince, / And flights of angels sing thee to thy rest." <br />In September 2011, British Theatre owners, (ATG) announced it was renaming its Comedy Theatre, Panton Street, London to become The . , Joint CEO and Creative Director of ATG told the , "The work of Pinter has become an integral part of the history of the Comedy Theatre. The re-naming of one of our most successful West End theatres is a fitting tribute to a man who made such a mark on British theatre who, over his 50 year career, became recognised as one of the most influential modern British dramatists." <br />Pinter and Merchant had both met Fraser in 1969, when all three worked together on a programme about ; several years later, on 8–9 January 1975, Pinter and Fraser became romantically involved. That meeting initiated their five-year extramarital love affair. After hiding the relationship from Merchant for two and a half months, on 21 March 1975, Pinter finally told her "I've met somebody". After that, "Life in Hanover Terrace gradually became impossible", and Pinter moved out of their house on 28 April 1975, five days after the première of . <br />Overtly political plays and sketches (1980–2000) <br />Honours <br />"Memory plays" (1968–1982) <br />From the late 1960s through the early 1980s, Pinter wrote a series of plays and sketches that explore complex ambiguities, elegiac mysteries, comic vagaries, and other "quicksand-like" characteristics of and which critics sometimes classify as Pinter's "". These include (1968), (1969), (1969), (1971), (1975), The Proust Screenplay (1977), (1978), (1981), (1982), and (1982). Some of Pinter's later plays, including Party Time (1991), (1993), (1996), and (2000) draw upon some features of his "memory" in their focus on the past in the present, but they have personal and political resonances and other tonal differences from these earlier memory plays. <br />See alsoReferencesNotesWorks citedFurther readingExternal linksWikiquote has a collection of quotations related to: Wikimedia Commons has media related to: PlaysDramatic sketchesScreenplaysRelated articles::::::1990s2000s2010sNamePinter, HaroldAlternative namesShort descriptionEnglish playwright, screenwriter, poet, actor, director, author, political activistDate of birth1930-10-10Place of birth, London, EnglandDate of death2008-12-24Place of deathLondon, England <br />In 2009, established the , which is awarded annually to a British writer or a writer resident in Britain who, in the words of Pinter's Nobel speech, casts an 'unflinching, unswerving' gaze upon the world, and shows a 'fierce intellectual determination ... to define the real truth of our lives and our societies'. The prize is shared with an international writer of courage. The inaugural winners of the prize were and the Burmese poet and comedian . <br />Following a three-year period of creative drought in the early 1980s after his marriage to Antonia Fraser and the death of Vivien Merchant, Pinter's plays tended to become shorter and more overtly political, serving as critiques of , , and other abuses of , linked by the apparent "invulnerability of power." Just before this hiatus, in 1979, Pinter re-discovered his manuscript of , which he had written in 1958 but had set aside; he revised it and then directed its first production himself at in London, in 1980. Like his plays of the 1980s, The Hothouse concerns authoritarianism and the abuses of power politics, but it is also a comedy, like his earlier . Pinter played the major role of Roote in a 1995 revival at the . <br />Pinter's lecture has been widely distributed by print and online media and has provoked much commentary and debate, with some commentators accusing Pinter of "anti-Americanism". In his Nobel Lecture, however, Pinter emphasises that he criticises policies and practices of American administrations (and those who voted for them), not all American citizens, many of whom he recognises as "demonstrably sickened, shamed and angered by their government's actions". <br />Pinter's notable film and television roles included the corrupt lawyer Saul Abrahams, opposite , in 's (1976), a remake of the 1941 , released on DVD in 2002; and a drunk Irish journalist in (starring and ) distributed on in 1978 and released in movie theatres in 2002. Pinter's later film roles included the criminal Sam Ross in Mojo (1997), written and directed by , based on Butterworth's ; Sir Thomas Bertram (his most substantial feature-film role) in (1998), a character that Pinter described as "a very civilised man ... a man of great sensibility but in fact, he's upholding and sustaining a totally brutal system [the slave trade] from which he derives his money"; and Uncle Benny, opposite and , in (2001). In , he played Mr. Bearing, the father of patient Vivian Bearing, played by in 's film of the -winning play (2001); and the Director opposite (Gielgud's last role) and in , by , directed by as part of Beckett On Film (2001). <br />Despite frail health after being diagnosed with in December 2001, Pinter continued to act on stage and screen, last performing the title role of 's one-act monologue , for the 50th anniversary season of the , in October 2006. He died from on 24 December 2008. <br />The Hothouse (1958/1980), The Dumb Waiter (1959), The Caretaker (1959), and other early plays <br />Civic activities and political activism <br />A memorial cricket match at between the Gaieties Cricket Club and the Lord's Taverners, followed by performances of Pinter's poems and excerpts from his plays, took place on 27 September 2009. <br />As playwright <br />The Harold Pinter Theatre, London <br />Like Celebration, Pinter's penultimate sketch, Press Conference (2002), "invokes both torture and the fragile, circumscribed existence of dissent". In its première in the 's two-part production of Sketches, despite undergoing chemotherapy at the time, Pinter played the ruthless Minister willing to murder little children for the benefit of "The State". <br />His commissioned screenplays of others' works for the films (1990), (1990), and (1997), remain unpublished and in the case of the latter two films, uncredited, though several scenes from or aspects of his scripts were used in these finished films. His screenplays (1972), Victory (1982), and (1997) and his unpublished screenplay (2000) have not been filmed. A section of Pinter's Proust Screenplay was, however, released as the 1984 film (Un amour de Swann), directed by , and it was also adapted by as a two-hour radio drama broadcast on in 1995, before Pinter and director Di Trevis collaborated to adapt it for the 2000 National Theatre production. <br />Pinter's aversion to any censorship by "the authorities" is epitomised in Petey's line at the end of The Birthday Party. As the broken-down and reconstituted Stanley is being carted off by the figures of authority Goldberg and McCann, Petey calls after him, "Stan, don't let them tell you what to do!" Pinter told Gussow in 1988, "I've lived that line all my damn life. Never more than now." The example of Pinter's stalwart opposition to what he termed "the modes of thinking of those in power"—the "brick wall" of the "minds" perpetuating the "status quo"—infused the "vast <a href="http://www.rathmell-arch.co.uk/hollister.html" target="_blank" class="postlink">hollister uk</a> political pessimism" that some academic critics may perceive in his artistic work, its "drowning landscape" of harsh contemporary realities, with some residual "hope for restoring the dignity of man." <br />Pinter's family home in London is described by his official biographer as "a solid, red-brick, three-storey villa just off the noisy, bustling, traffic-ridden thoroughfare of the Road". In 1940 and 1941, after , Pinter was from their house in London to and . Billington states that the "life-and-death intensity of daily experience" before and during the Blitz left Pinter <a href="http://cgi.www5f.biglobe.ne.jp/~gifu/honey/honey.cgi" target="_blank" class="postlink">barbour outlet The Countless </a> with profound memories "of loneliness, bewilderment, separation and loss: themes that are in all his works." <br />Pinter was born on 10 October 1930, in , east London, as the only child of lower middle class English parents of Jewish ancestry: his father, Jack Pinter (1902–1997) was a ladies' tailor; his mother, Frances (née Moskowitz; 1904–1992), a housewife. Pinter believed an aunt's erroneous view that the family was and had fled the ; thus, for his early poems, Pinter used the pseudonym Pinta and at other times used variations such as da Pinto. Later research by , Pinter's second wife, revealed the legend to be apocryphal; three of Pinter's grandparents came from Poland and the fourth from , so the family was . <br />On 13 October 2005, the announced that it had decided to award the for that year to Pinter, who "in his plays uncovers the precipice under everyday prattle and forces entry into oppression's closed rooms". Its selection instigated some public controversy and criticism relating both to and to his politics. When interviewed that day about his reaction to the announcement, Pinter said: "I was told today that one of the Sky channels said this morning that 'Harold Pinter is dead.' Then they changed their mind and said, 'No, he's won the Nobel prize.' So I've risen from the dead." The Awards Ceremony and related events throughout Scandinavia took place in December 2005. After the Academy notified Pinter of his award, he had planned to travel to to present his Nobel Lecture in person. In November, however, his doctor sent him to hospital and barred such travel, after a serious infection was diagnosed. Pinter's publisher, Stephen Page of , accepted the Nobel Diploma and Nobel Medal at the Awards Ceremony in his place. <br />Nobel Prize and Nobel Lecture <br />Pinter quoted Father John Metcalf speaking to , then Minister at the US Embassy in London, "My parishioners built a school, a health centre, a cultural centre. We have lived in peace. A few months ago a Contra force attacked the parish. They destroyed everything: the school, the health centre, the cultural centre. They raped nurses and teachers, slaughtered doctors, in the most brutal manner. They behaved like savages. Please demand that the US government withdraw its support from this shocking terrorist activity." Seitz responded, "Let me tell you something. In war, innocent people always suffer." Pinter called the US invasion of Iraq "an arbitrary military action inspired by a series of lies upon lies and gross manipulation of the media and therefore of the public", and condemned the British government for its cooperation. <br />Intertwining political and personal concerns, his next full-length plays, (1993) and (1996) are set in domestic households and focus on dying and death; in their personal conversations in Ashes to Ashes, Devlin and Rebecca allude to unspecified atrocities relating to the . After experiencing the deaths of first his mother (1992) and then his father (1997), again merging the personal and the political, Pinter wrote the poems "Death" (1997) and "The Disappeared" (1998). <br />The night before Pinter's burial, theatre marquees on Broadway dimmed their lights for a minute in tribute, and on the final night of No Man's Land at the Duke of York's Theatre on 3 January 2009, all of the in the <a href="http://www.1855sacramento.com/woolrich.php" target="_blank" class="postlink">woolrich bologna</a> West End dimmed their lights for an hour to honour the playwright. <br />From 9 to 25 January 2003, the Manitoba Theatre Centre, in , Canada, held a nearly month-long PinterFest, in which over a 130 performances of twelve of Pinter's plays were performed by a dozen different theatre companies. Productions during the Festival included: The Hothouse, Night School, The Lover, The Dumb Waiter, The Homecoming, The Birthday Party, Monologue, One for the Road, The Caretaker, Ashes to Ashes, Celebration, and No Man's Land. <br />, the for proposed an in the to support a residents' campaign to restore the Clapton Cinematograph Theatre, established in in 1910, and to turn it into a memorial to Pinter "to honour this Hackney boy turned literary great." On 2 May 2009, a free public memorial tribute was held at of The . It was part of the 5th Annual of International Literature, taking place in New York City. Another memorial celebration, held in the Olivier Theatre, at the , in London, on the evening of 7 June 2009, consisted of excerpts and readings from Pinter's writings by nearly three dozen actors, many of whom were his friends and associates, including: , , , , , , , , and ; and a troupe of students from the , directed by Ian Rickson. <br />Posthumous eventsFuneral <br />Being Harold Pinter <br />In mid-August 1977, after Pinter and Fraser had spent two years living in borrowed and rented quarters, they moved into her former family home in , where Pinter began writing Betrayal. He reworked it later, while on holiday at the , in , in early January 1978. After the Frasers' divorce had become final in 1977 and the Pinters' in 1980, Pinter married Fraser on 27 November 1980. Because of a two-week delay in Merchant's signing the divorce papers, however, the reception had to precede the actual ceremony, originally scheduled to occur on his 50th birthday. Vivien Merchant died of acute alcoholism in the first week of October 1982, at the age of 53. Billington writes that Pinter "did everything possible to support" her and regretted that he ultimately became estranged from their son, Daniel, after their separation, Pinter's remarriage, and Merchant's death. <br />Pinter's brief dramatic sketch Precisely (1983) is a duologue between two bureaucrats exploring the absurd power politics of mutual nuclear annihilation and . His first overtly political one-act play is (1984). In 1985 Pinter stated that whereas his earlier plays presented metaphors for power and powerlessness, the later ones present literal realities of power and its abuse. Pinter's "political theater dramatizes the interplay and conflict of the opposing poles of involvement and disengagement." (1988) is about the Turkish suppression of the . The dramatic sketch The New World Order (1991) provides what Robert Cushman, writing in described as "10 nerve wracking minutes" of two men threatening to torture a third man who is blindfolded, gagged and bound in a chair; Pinter directed the British première at the , where it opened on 9 July 1991, and the production then transferred to Washington, D.C., where it was revived in 1994. Pinter's longer Party Time (1991) premièred at the in London, in a double-bill with Mountain Language. Pinter adapted it as a screenplay for television in 1992, directing that production, first broadcast in the UK on on 17 November 1992. <br />In 1948–49, when he was 18, Pinter opposed the politics of the , leading to his decision to become a and to refuse to comply with in the British military. However, he told interviewers that, if he had been old enough at the time, he would have fought against the in . He seemed to express ambivalence, both indifference and hostility, towards political structures and politicians in his Fall 1966 interview conducted by . Yet, he had been an early member of the and also had supported the British (1959–1994), participating in British artists' refusal to permit professional productions of their work in South Africa in 1963 and in subsequent related campaigns. In "A Play and Its Politics", a 1985 interview with Nicholas Hern, Pinter described his earlier plays retrospectively from the perspective of the politics of power and the dynamics of oppression. <br />Pinter discovered his social potential as a student at , a London , between 1944 and 1948. "Partly through the school and partly through the social life of Hackney Boys' Club ... he formed an almost sacerdotal belief in the power of male friendship. The friends he made in those days—most particularly , Michael (Mick) Goldstein and Morris (Moishe) Wernick—have always been a vital part of the emotional texture of his life." A major influence on Pinter was his inspirational English teacher Joseph Brearley, who directed him in school plays and with whom he took long walks, talking about literature. According to Billington, under Brearley's instruction, "Pinter shone at English, wrote for the school magazine and discovered a gift for acting." In 1947 and 1948, he played and in productions directed by Brearley. <br />In October and November 2006, hosted . It featured productions of seven of Pinter's plays: The Caretaker, Voices, No Man's Land, Family Voices, Tea Party, The Room, One for the Road, and The Dumb Waiter; and films (most his screenplays; some in which Pinter appears as an actor). <br />Some scholars and critics challenge the validity of Pinter's critiques of what he terms "the modes of thinking of those in power" or dissent from his retrospective viewpoints on his own work. In 1985, Pinter recalled that his early act of conscientious objection resulted from being "terribly disturbed as a young man by the Cold War. And McCarthyism ... A profound hypocrisy. 'They' the monsters, 'we' the good. In 1948, the Russian suppression of Eastern Europe was an obvious and brutal fact, but I felt very strongly then and feel as strongly now that we have an obligation to subject our own actions and attitudes to an equivalent critical and moral scrutiny." Scholars agree that Pinter's dramatic rendering of power relations results from this scrutiny. <br />Working as both a screenwriter and as a playwright, Pinter composed a script called (1966), for a trilogy of films to be contributed by , , and Pinter, of which only Beckett's film, entitled , was actually produced. Then Pinter turned his unfilmed script into a television play, which was produced as , both on and also on stage in 1968. <br />Pinter's blunt political statements, and the award of the Nobel Prize in Literature, elicited strong criticism and even, at times, provoked ridicule and personal attacks. The historian , author of the official history of Hackney Downs School, expressed his own "Jewish View" of Harold Pinter: "Whatever his merit as a writer, actor and director, on an ethical plane Harold Pinter seems to me to have been intensely flawed, and his moral compass deeply fractured." , writing in , defended Pinter against what he termed Pinter's "being berated by the belligerati" like , who felt that he did not "deserve" to win the Nobel Prize. Later Pinter continued to campaign against the Iraq War and on behalf of other political causes that he supported. As Alderman points out, for example, Pinter signed the mission statement of in 2005 and its full-page advertisement, "What Is Israel Doing? A Call by Jews in Britain", published in on 6 July 2006, and he was a patron of the . <br />Pinter's first play, , written and first performed in 1957, was a student production at the , directed by his good friend, actor , who also originated the role of Mr. Kidd (which he reprised in 2001 and <a href="http://www.getconversational.com" target="_blank" class="postlink">hollister france</a> 2007). After Pinter mentioned that he had an idea for a play, Woolf asked him to write it so that he could direct it to fulfill a requirement for his postgraduate work. Pinter wrote it in three days. <a href="http://www.achbanker.com/home.php" target="_blank" class="postlink">hollister france</a> The production was described by Billington as "a staggeringly confident debut which attracted the attention of a young producer, Michael Codron, who decided to present Pinter's next play, , at the , in 1958." <br />Pinter's last stage play, (2000), is a <a href="http://www.achbanker.com/home.php" target="_blank" class="postlink">hollister</a> social set in an opulent restaurant, which lampoons , a fashionable venue <a href="http://www.eastscotinvest.co.uk/mulberry.html" target="_blank" class="postlink">mulberry outlet</a> in London's district, and its patrons who "have just come from performances of either the ballet or the opera. Not that they can remember a darn thing about what they saw, including the titles. [These] gilded, foul-mouthed souls are just as myopic when it comes to their own table mates (and for that matter, their food), with conversations that usually connect only on the surface, if there." On its surface the play may appear to have fewer overtly political resonances than some of the plays from the 1980s and 1990s; but its central male characters, brothers named Lambert and Matt, are members of the elite (like the men in charge in Party Time), who describe themselves as "peaceful strategy consultants [because] we don't carry guns." At the next table, Russell, a banker, describes himself as a "totally disordered personality ... a psychopath," while Lambert "vows to be reincarnated as '[a] more civilised, [a] gentler person, [a] nicer person'." These characters' deceptively smooth exteriors mask their extreme viciousness. Celebration evokes familiar political contexts: "The ritzy loudmouths in 'Celebration' ... and the quieter working-class mumblers of 'The Room' ... have everything in common beneath the surface". "Money remains in the service of entrenched power, and the brothers in the play are 'strategy consultants' whose jobs involve force and violence ... It is tempting but inaccurate to equate the comic power inversions of the social behavior in Celebration with lasting change in larger political structures", according to Grimes, for whom the play indicates Pinter's pessimism about the possibility of changing the status quo. Yet, as the Waiter's often comically unbelievable reminiscences about his grandfather demonstrate in Celebration, Pinter's final stage plays also extend some aspects of his earlier "memory plays", while harking back to his "comedies of menace", as illustrated in the characters and in the Waiter's final speech: <br />Pinter's career as a playwright began with a production of in 1957. His second play, , closed after eight performances, but was enthusiastically reviewed by critic . His early works were described by critics as "". Later plays such as (1975) and (1978) became known as "memory plays". He appeared as an actor in productions of his own work on radio and film. He also undertook a number of roles in works by other writers. He directed nearly 50 productions for stage, theatre and screen. Pinter received over 50 awards, prizes, and other honours, including the in 2005 and the French in 2007. <br />CareerAs actor <br />Early theatrical training and stage experience <br />Pinter enjoyed running and broke the Hackney Downs School sprinting record. He was an avid enthusiast, taking his bat with him when evacuated during the Blitz. In 1971 he told : "one of my main obsessions in life is the game of cricket—I play and watch and read about it all the time." He was chairman of the Gaieties Cricket Club, a supporter of , and devoted a section of his official website to the sport. One wall of his study was dominated by a portrait of himself as a young man playing cricket, which was described by , writing in : "The painted Mr. Pinter, poised to swing his bat, has a wicked glint in his eye; testosterone all but flies off the canvas." Pinter approved of the "urban and exacting idea of cricket as a bold theatre of aggression." After his death, several of his school contemporaries recalled his achievements in sports, especially cricket and running. The memorial tribute included an essay on Pinter and cricket. <br />Pinter himself and later critics generally credited Hobson as bolstering him and perhaps even rescuing his career. <br />Harold Pinter, , (10 October 1930 – 24 December 2008) was a -winning English playwright, screenwriter, director and actor. One of the most influential modern British dramatists, his writing career spanned more than 50 years. His best-known plays include (1957), (1964), and (1978), each of which he adapted for the screen. His screenplay adaptations of others' works include (1963), (1970), (1981), (1993), and (2007). He also directed or acted in radio, stage, television, and film productions of his own and others' works. <br />Pinter was content in his second marriage and enjoyed family life with his six adult stepchildren and 17 step-grandchildren. Even after battling cancer for several years, he considered himself "a very lucky man in every respect". notes in her 2007 interview with Pinter in that his "latest work, a slim pamphlet called "Six Poems for A.," comprises poems written over 32 years, with "A" of course being Lady Antonia. The first of the poems was written in Paris, where she and Mr. Pinter traveled soon after they met. More than three decades later the two are rarely apart, and Mr. Pinter turns soft, even cozy, when he talks about his wife." In that interview Pinter "acknowledged that his plays—full of infidelity, cruelty, inhumanity, the lot—seem at odds with his domestic contentment. 'How can you write a happy play?' he said. 'Drama is about conflict and degrees of perturbation, disarray. I've never been able to write a happy play, but I've been able to enjoy a happy life.'" After his death, Fraser told : "He was a great man, and it was a privilege to live with him for over 33 years. He will never be forgotten." <br />In an interview with Pinter in 2006, conducted by critic Michael Billington as part of the cultural programme of the in , Italy, Pinter confirmed that he would continue to write poetry but not plays. In response, the audience shouted No in unison, urging him to keep writing. Along with the international symposium on Pinter: Passion, Poetry, Politics, curated by Billington, the 2006 Europe Theatre Prize theatrical events celebrating Pinter included new productions (in French) of Precisely (1983), One for the Road (1984), Mountain Language (1988), The New World Order (1991), Party Time (1991), and Press Conference (2002) (French versions by Jean Pavans); and Pinter Plays, Poetry & Prose, an evening of dramatic readings, directed by , of the , . In June 2006, the (BAFTA) hosted a celebration of Pinter's films curated by his friend, the playwright . Hare introduced the selection of film clips by saying: "To jump back into the world of Pinter's movies ... is to remind yourself of a literate mainstream cinema, focused as much as 's is on the human face, in which tension is maintained by a carefully crafted mix of image and dialogue." <br />As screenwriter <br />Harold Pinter <br />Born(1930-10-10)10 October 1930 <br />, east , EnglandDied24 December 2008(2008-12-24) (aged 7<img src="http://picsrv.fora.pl/images/smiles/icon_cool.gif" alt="Cool" border="0" /> <br />, EnglandOccupationPlaywright, screenwriter, actor, theatre director, poetNationalityBritishPeriod1947–2008Notable award(s)Spouse(s)ChildrenSignature <br />Pinter was the author of 29 plays and 15 dramatic sketches and the co-author of two works for stage and radio. He was considered to have been one of the most influential modern British dramatists, Along with the 1967 for The Homecoming and several other American awards and award nominations, he and his plays received many awards in the UK and elsewhere throughout the world. His style has entered the English language as an adjective, "", although Pinter himself disliked the term and found it meaningless. <br />Pinter's unpublished manuscripts and letters to and from him are held in the Harold Pinter Archive in the Modern Literary Manuscripts division of the . Smaller collections of Pinter manuscripts are in the , the ; , ; the Mandeville Special Collections Library, Geisel Library, at the ; the , in London; and the Margaret Herrick Library, , the , . <br />2001–2008</span></td> </tr> </table></td> </tr> <tr> <td colspan="2" height="1" class="spaceRow"><img src="http://picsrv.fora.pl/subSilver/images/spacer.gif" alt="" width="1" height="1" /></td> </tr> <tr> <td width="22%" align="left" valign="top" class="row2"><span class="name"><a name=""></a><b>xkekg34fa</b></span></td> <td class="row2" height="28" valign="top"><table width="100%" border="0" cellspacing="0" cellpadding="0"> <tr> <td width="100%"><img src="http://picsrv.fora.pl/subSilver/images/icon_minipost.gif" width="12" height="9" alt="Post" title="Post" border="0" /><span class="postdetails">Posted: Mon 9:43, 09 Sep 2013<span class="gen"> </span> Post subject: peuterey outlet Ways To Make The Virgo Man Love Yo</span></td> </tr> <tr> <td colspan="2"><hr /></td> </tr> <tr> <td colspan="2"><span class="postbody">Author : <br />Wish to know your match ups with the . 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