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This article explores the effects of moving two of Pinter’s earlier plays outside of their original domestic settings by focusing on two productions staged in 2019: A Slight Ache (1958), directed by Jamie Lloyd for the Pinter at the Pinter season in London’s West End, and De Thuiskomst / The Homecoming (1964), directed by Nanouk Leopold for Internationaal Theater Amsterdam (ITA). In relocating each play from their prescribed domestic interiors, both productions explicitly drew on and incorporated the conventions of different media, specifically radio and film, in markedly different ways. Rather than transposing the country home of Pinter’s original radio play onto the stage in an analogous setting, Lloyd’s Slight Ache featured two performers appearing in a radio studio to voice their characters, thereby complicating the identities and motivations of the play’s characters by evoking a place of work, not a place of domestic retreat. In Leopold’s starkly minimalist Homecoming, video projections and visualisations of the human body as a kind of digital automaton replaced the trappings of domesticity, inviting audiences to focus instead on the live and mediatized bodies of the characters. Through their different means of representation, these productions demonstrate two different approaches to de-centring domestic space in Pinter’s early plays via distinct intermedial strategies. In doing so, they offer a renewed focus on the embodied presence of the actors, thereby inviting new insights into how Pinter’s early characters can transcend the confines of their interior spaces on stage and underscoring the writer’s own inherently intermedial praxis.
|Publication status||Accepted/In press - 3 Dec 2021|
- The Homecoming
- A Slight Ache
- Jamie Lloyd
- Nanouk Leopold
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‘Presence, Absence and Intermediality in Harold Pinter’s A Slight Ache (dir. Jamie Lloyd, 2019) and De Thuiskomst / The Homecoming (dir. Nanouk Leopold, 2019)’
Catriona Fallow (Invited speaker)17 Feb 2021
Activity: Talk or presentation › Invited talk