One for the Road | |
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Written by | Harold Pinter |
Date premiered | 13 March 1984 |
Place premiered | The Lyric Studio, Hammersmith, London |
Original language | English |
Subject | Torture, rape, and murder of political prisoners; human rights |
Genre | Drama |
Setting | A room in a house in an unspecified location. |
Official site |
One for the Road is an overtly political one-act play by Harold Pinter, which premiered at Lyric Studio, Hammersmith, in London, on 13 March 1984, and was first published by Methuen in 1984.
One for the Road, considered Pinter's "statement about the human rights abuses of totalitarian governments", [1] was inspired, according to Antonia Fraser, [2] by reading on May 19, 1983, Jacobo Timerman's Prisoner Without a Name, Cell Without a Number, a book about torture on Argentina's military dictatorship; later, in January 1984, he got to write it after an argument with two Turkish girls at a family birthday party on the subject of torture.
The year following the publication, Pinter would visit Turkey with Arthur Miller "to investigate allegations of the torture and persecution of Turkish writers"; [3] as he explains further in his interview with Nicholas Hern, "A Play and Its Politics", conducted in February 1985 and published in 1985 in the revised and reset Eyre Methuen hardback [4] and in 1986 in the Grove Evergreen paperback [5] and illustrated with production photographs taken at the premiere by Ivan Kyncl, torture of political prisoners in countries like Turkey "is systematic". [6] Due to the tolerance and even support of such human rights abuses by the governments of Western countries like the United States, Pinter emphasizes (prophetically it turned out given later revelations about extraordinary rendition) in One for the Road how such abuses might happen in or at the direction of these democracies too.
In this play the actual physical violence takes place off stage; Pinter indirectly dramatizes such terror and violence through verbal and non-verbal allusions to off-stage acts of repeated rape of Gila, physical mutilation of Victor, and the ultimate murder of their son, Nicky. The effects of the violence that takes place off stage are, however, portrayed verbally and non-verbally on stage.
Though in the interview, Pinter says that he himself "always find[s] agitprop insulting and objectionable […] now, of course I'm doing the same thing". [7] He observes that "when the play was done in New York, as the second part of a triple-bill [Other Places, directed by Alan Schneider, at the Manhattan Theatre Club (1984)], [1] a goodly percentage of people left the theatre when it was over. They were asked why they were going and invariably they said, 'We know all about this. We don't need to be told.' Now, I believe that they were lying. They did not know about it and did not want to know". [7]
The play takes place in "A room" in a house during the course of one day ("Morning", "Afternoon", and "Night"), but the location of the room is unspecified. The furniture in the room, a "desk" and a "machine" used as a telephone intercom, and the bars on the windows, as illustrated by the premiere production photographs, suggests that the room in a domestic house has been converted into an office and that the house functions as a prison [8] The use of some common English colloquial expressions (e.g., the titular "One for the Road" repeated by Nicolas regarding having another drink) implies that the action could take place in Great Britain or America, or another English-speaking country among "civilised" people. [9]
Victor and his wife Gila, who have obviously been tortured, as their "clothes" are "torn" and they are "bruised", [10] and their seven-year-old son, Nicky, are imprisoned in separate rooms of a house by a totalitarian or democratic regime represented by an officer named Nicolas. Though in control locally—"I can do absolutely anything I like" [11] —he is not the final arbiter of power, since he refers to outside sources to validate his actions: "Do you know the man who runs this country?"; [12] "God speaks through me." [13] But the play reveals that Nicolas is insecure and that he overcompensates by aggressive gestures and words, threatening both Victor and Gila with a peculiar gesture, waving and jabbing his "big finger" and his "little finger […] both at the same time" before their eyes; [14] while he tries to converse with Victor as if they were both "civilised" men, he stresses gratuitously that "Everyone respects me here" [15] and invents depraved fantasies of having sex with a menstruating Gila, [16] even ruminating perversely that she has "fallen in love" with him. [17] Pinter highlighted Nicolas' insecurities in his own performance of the role as directed by Robin Lefèvre in 2001, adding stage business at the start; as Michael Billington describes in his review of a performance at the New Ambassadors Theatre, "In a long, silent prelude we see Nicolas psyching himself up for the ensuing ritual." [18]
When Nicolas confronts Gila, he refers to sexual torture of her that has taken and will continue to take place off stage: "Have they [my soldiers] been raping you? […] How many times? How many times have you been raped? Pause. How many times?" [...] "How many times have you been raped?" [19]
Though Nicolas chats in an ostensibly-innocuous manner with Victor's and Gila's seven-year-old son Nicky about whether the child "Would like to be a soldier" when he grows up, [20] he bullies even the little boy: "You like soldiers. Good. But you spat at my soldiers and you kicked them. You attacked them." [20] After Nicky says, "I didn't like those soldiers", Nicolas replies menacingly: "They don't like you either, my darling." [21]
Victor's and Gila's specific "offences" (if there are any) go unnamed. Nicolas accuses Gila of mentioning her father when she responds to a question about where she met her husband by saying that she met him in "a room", in her "father's room"; Nicolas exaggerates this mere mention as if she were "to defame, to debase, the memory of [her dead] father"—"a wonderful man […] a man of honour" whom he claims to have "loved […] as if he were my own father". [22]
In his final exchange with Victor, Nicolas' use of the past tense signifies that the soldiers have killed Nicky and portends his parents' similarly terrifying fate at their hands: "Your son. I wouldn't worry about him. He was a little prick" (italics added), [23] leading to Pinter's final stage directions, as Victor "straightens and stares at" Nicolas, followed by "Silence" and "Blackout." [24]
The Grove Press edition of the play lists eight foreign countries where the play had been staged by the time it went to press in 1985, with a list of 10 additional countries in which future productions were being planned. [25] Pinter's official website features a calendar of later productions, and the page devoted to One for the Road provides some hyperlinked foreign productions. [26]
Part of a double bill with Victoria Station . Cast: [27] [28]
Production team:
Part of triple bill with Victoria Station and A Kind of Alaska . Cast: [1]
Production team:
Same cast as London premiere, except that Gila was played by Rosie Kerslake and Nicky by Paul Adams. Kenneth Ives directed. [28]
Also directed by Kenneth Ives. Cast: [28]
Cast: [18]
Production team:
Cast: [29]
Production team:
Harold Pinter was a British playwright, screenwriter, director and actor. A Nobel Prize winner, Pinter was one of the most influential modern British dramatists with a writing career that spanned more than 50 years. His best-known plays include The Birthday Party (1957), The Homecoming (1964) and Betrayal (1978), each of which he adapted for the screen. His screenplay adaptations of others' works include The Servant (1963), The Go-Between (1971), The French Lieutenant's Woman (1981), The Trial (1993) and Sleuth (2007). He also directed or acted in radio, stage, television and film productions of his own and others' works.
Sarah Kane was an English playwright, screenwriter and theatre director. She is known for her plays that deal with themes of redemptive love, sexual desire, pain, torture—both physical and psychological—and death. They are characterised by a poetic intensity, pared-down language, exploration of theatrical form and, in her earlier work, the use of extreme and violent stage action.
Mountain Language is a one-act play written by Harold Pinter, first published in The Times Literary Supplement (TLS) on 7–13 October 1988. It was first performed at the Royal National Theatre in London on 20 October 1988 with Michael Gambon and Miranda Richardson. Subsequently, it was published by Faber and Faber (UK) and Grove Press (USA). Mountain Language lasts about 25 minutes in production. It was most recently performed as part of Theatre of Menace (2016) at the Smock Alley Theatre in Dublin, starring Alisa Belonogina, Paul Carmichael, Lana O'Kell, Jaime Peacock, Louis Tappenden and Natasha Ryan
No Man's Land is a play by Harold Pinter written in 1974 and first produced and published in 1975. Its original production was at the Old Vic theatre in London by the National Theatre on 23 April 1975, and it later transferred to Wyndham's Theatre, July 1975 – January 1976, the Lyttelton Theatre April–May 1976, and New York's Longacre Theatre from October–December 1976. It returned to the Lyttelton from January – February 1977. It is a two-act play.
Blasted is the first play by the British author Sarah Kane. It was first performed in 1995 at the Royal Court Theatre Upstairs in London.
The Birthday Party (1957) is the first full-length play by Harold Pinter, first published in London by Encore Publishing in 1959. It is one of his best-known and most frequently performed plays.
Betrayal is a play written by Harold Pinter in 1978. Critically regarded as one of the English playwright's major dramatic works, it features his characteristically economical dialogue, characters' hidden emotions and veiled motivations, and their self-absorbed competitive one-upmanship, face-saving, dishonesty, and (self-) deceptions.
Family Voices is a radio play by Harold Pinter written in 1980 and first broadcast on BBC Radio 3 on 22 January 1981.
The Homecoming is a two-act play written in 1964 by Harold Pinter and first published in 1965. Its premières in London (1965) and New York (1967) were both directed by Sir Peter Hall. The original Broadway production won the 1967 Tony Award for Best Play. Its 40th-anniversary Broadway production at the Cort Theatre was nominated for a 2008 Tony Award for "Best Revival of a Play".
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Landscape is a one-act play by Harold Pinter that was first broadcast on radio in 1968 and first performed on stage in 1969. The play shows the difficulties of communication between two people in a marriage. This is illustrated through the two characters who appear to be talking to one another though neither seems to hear the other. The dialogue resembles two independent monologues. The play is often studied, read, and performed alongside Silence, another one-act play published soon after Landscape. Both plays mark a change in Pinter's style, with echoes of the work of Samuel Beckett. In both plays nothing happens, the action of the plays is brought to a halt putting an added emphasis on the role of the dialogues and monologues that take place. As one critic put it "nothing happens but much is explored".
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Bibliography for Harold Pinter is a list of selected published primary works, productions, secondary sources, and other resources related to English playwright Harold Pinter (1930–2008), the 2005 Nobel Laureate in Literature, who was also a screenwriter, actor, director, poet, author, and political activist. It lists works by and works about him, and it serves as the Bibliography for the main article on Harold Pinter and for several articles relating to him and his works.
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Thomas Baptiste was a Guyanese-born British actor and opera singer.
Note regarding quotes from the 1986 Grove edition: as Pinter uses three spaced periods for pauses in his dialogue, editorial ellipses of three unspaced periods are herein placed within brackets.