Please use this identifier to cite or link to this item: https://hdl.handle.net/10356/69576
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dc.contributor.authorGoh, Qi Wei
dc.date.accessioned2017-02-17T05:01:30Z
dc.date.available2017-02-17T05:01:30Z
dc.date.issued2017
dc.identifier.citationGoh, Q. W. (2017). Regarding the unseen : reading the offstage in Harold Pinter's early plays. Master's thesis, Nanyang Technological University, Singapore.
dc.identifier.urihttp://hdl.handle.net/10356/69576
dc.description.abstractAs a result of its close ties with theatre, drama has often been associated with sight and this has, understandably, led to readers paying more attention to the ‘seen’, while inadvertently pushing the ‘unseen’ into the background. However, the ‘unseen’ parts of a play (i.e. the offstage) are equally, if not more, important than the ‘seen’ in driving the action of a drama. Therefore, this paper plans to examine the offstage, by rereading Harold Pinter’s first four plays, The Room (1957), The Birthday Party (1957), The Dumb Waiter (1957) and A Slight Ache (1958) and attempt, firstly, to argue for the importance of the offstage in drama and, secondly, to challenge the usual claims of ‘menace’ associated with the outside/offstage of Pinter’s early plays. Ultimately, I hope to suggest that the offstage in Pinter’s drama actually possesses the potential to help characters free themselves from the confines of the room/stage which they are trapped in.en_US
dc.format.extent106 p.en_US
dc.language.isoenen_US
dc.subjectDRNTU::Humanities::Literatureen_US
dc.titleRegarding the unseen : reading the offstage in Harold Pinter's early playsen_US
dc.typeThesis
dc.contributor.supervisorDaniel Keith Jerniganen_US
dc.contributor.schoolSchool of Humanities and Social Sciencesen_US
dc.description.degreeMaster of Arts (HSS)en_US
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