engleski

Harold Pinter in Croatia: A Critical Reception Oscillating between the Labels of ‘Absurdist’ and ‘Pinteresque’

A detailed overview of Pinter’s reception and criticism in Croatia was recently undertaken by Acija Alfirević (2014, 89-102). Hence, the aim of this paper is to determine whether, and in what way, labels such as Martin Esslin’s label of the Theatre of the Absurd, facilitated, directed and regulated the reception of Pinter in Croatia. The second aim of this paper is to provide a historical and cultural background for the reception and to highlight the turning points in the critical and theatrical reception of Pinter’s drama in Croatia in the context of the various labels associated with his name.

Harold Pinter, Croatian theatre, Reception, Theatre of the Absurd, Pinteresque

nije evidentirano