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The Caretaker

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The theme of isolation appears to result from the characters' inability to communicate with one another, and the characters' own insularity seems to exacerbate their difficulty communicating with others. [ citation needed] As far as I know Harold Pinter, plot and story are usually non-existent in his works, but I still write a few lines about what goes on in this play.

For a review of the Sheffield Theatres production, see Lyn Gardner, "Theatre: The Caretaker: Crucible, Sheffield", Guardian, Culture: Theatre. Guardian Media Group, 20 October 2006. Web. 12 March 2009. That is not evident from Matthew Warchus’s new production. It has a terrific cast. It has sparky moments. But it is not nuanced and never driven. Despite obtrusive music between scenes – doomy chords and what sounds like an amplified mobile phone – there is scarcely a hint of terror. Scarcely a sense that these laughs are a sign of teetering on the edge.

The Caretaker (also known as The Guest) is a 1963 British drama film directed by Clive Donner and based on the Harold Pinter play of the same name. It was entered into the 13th Berlin International Film Festival where it won the Silver Bear Extraordinary Jury Prize. [2] Plot [ edit ] This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "The Caretaker"– news · newspapers · books · scholar · JSTOR ( March 2009) ( Learn how and when to remove this template message)

From the very first, Davies appears quite fixated on race. He refers often to other racial groups, all in denigrating ways. He is suspicious of their position in society, clearly nervous that they are supplanting him or giving themselves airs that they are better than him. His racial prejudice is tied up with his perception that he is a victim, always unfairly shunted aside. It is also part of his defense mechanism, for if he can blame others for his lowly status, then he never has to question himself as to why he cannot hold a job or why he is so unpleasant. Pinter's decision to make Davies a veritable racist is not just in terms of character, but also a manifestation of historical and social realities of the time in which the play was written. Lower-class whites in 1950s Britain were fearful of foreigners usurping their already precarious position in society, and Pinter captures that fear in Davies. Brian Richardson, Performance review of The Caretaker, Studio Theatre (Washington D.C.), 12 September 1993, The Pinter Review: Annual Essays 1994, ed. Francis Gillen and Steven H. Gale (Tampa: U of Tampa P, 1994) 109-10: "Here, real objects and stylized representations alternate and the three vertical structures [of the set] though not symmetrical, balance each other in a rough though pleasing harmony." The old man starts turning on the room mate and tries to impress the landlord brother. He is offered a role as a caretaker subject to providing references, upon which his paperwork is in another town. And how he has been trying to imminently regain them for the past decade. Esslin, Martin. The Theatre of the Absurd. 1961. 3rd ed. New York: Vintage Books, 2004. ISBN 1-4000-7523-8 (10). ISBN 978-1-4000-7523-2 (13). Print.Major themes in the play include the problems of communication; race and social class; the current political state in 1950s England; identity; language; and deception. The play is lauded for its placement of a man of the lower social class at (literal) center stage, for its naturalistic language, meticulous crafting, dynamic interplay between characters, and layers of meaning. What's On: The Caretaker (archived past seasons). Sheffield Theatres, n.d. Web. 13 March 2009. (Run at Sheffield Theatres ended on 11 November 2006.)

The Caretaker is one of playwright Harold Pinter's most popular plays, and certainly one of the 20th century's most notable works of the stage. It is Pinter's second full-length play, but his first major success. Critics delve into its historical, social, and political themes, but Pinter himself spoke of his work as simply a piece concerning "a particular human situation" and about only "three particular people...not, incidentally, symbols." Aston smiles at him when he thinks he is asleep. He doesn't know that Davies is watching him through the blanket, only pretending to be asleep. I thought this was great, that smile. That kind of made it for me. That Davies is in this guy's room, pretending to sleep in the bed he gave him. Yet he didn't give it him. He's only borrowing it for an undetermined time. He doesn't know Aston, or what he wants from him.

There’s no real closure or objective in sight. I think this could be a snap shot into the communication issues amongst the homeless and mentally unwell people (the civic guy in this case). It’s also a little sad how nice people get used or taken advantage of but then you can understand their rationale for doing so.

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