The The Lover (play) issue is a fundamental aspect in the lives of many people. Its impact extends to different areas, from health to the economy, including society and culture. The Lover (play) has been an object of study and interest throughout history, and its relevance continues today. In this article, we will explore different aspects related to The Lover (play), analyzing its importance and delving into its implications in various contexts. Additionally, we will examine different perspectives and approaches that will help us better understand the influence of The Lover (play) on our lives.
The Lover | |
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![]() Opening title ITV, 1963 | |
Written by | Harold Pinter |
Date premiered | 28 March 1963 |
Place premiered | ITV |
Original language | English |
Genre | One-act play |
The Lover is a 1962 one-act play by Harold Pinter, originally written for television, but subsequently performed on stage.[1] The play contrasts bourgeois domesticity with sexual yearning.[2]
As with the drama of Anton Chekhov, some of Pinter's plays support "serious" and "comic" interpretations; The Lover has been staged successfully both as an ironic comedy on the one hand and as a nervy drama on the other.[3][4] As is often the case with Pinter, the play probably contains both.[5]
Pinter leads the audience to believe that there are four characters in the play: the wife, the husband, the wife's lover and the husband's whore. But the lover who comes to call in the afternoons is revealed to be the husband adopting a role. He plays the lover for her: she plays the whore for him. As the play goes on the man (first as the lover and then as the husband) expresses a wish to stop the pretend adultery, to the dismay of the woman. Finally, the husband suddenly switches back to the role of the lover (he switched also before it)
The play originally premiered in a 60 minute TV production directed by Joan Kemp-Welch for Associated-Rediffusion, transmitted by ITV on 28 March 1963.[6]
It opened at the Arts Theatre on 18 September 1963 in a production by the author, as part of a double bill with his play The Dwarfs; and closed on 5 October.[7]
The Financial Times wrote "The little play works simply beautifully, like a perfectly adjusted piece of miniature machinery, except that machinery is dead and this play is scintillating alive."[8]