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Betrogen - Programm

von Harold Pinter

MitgliederRezensionenBeliebtheitDurchschnittliche BewertungDiskussionen
578841,137 (3.88)35
'Betrayal is a new departure and a bold one . . . Pinter has found a way of making memory active and dramatic, giving an audience the experience of the mind's accelerating momentum as it pieces together the past with a combination of curiosity and regret. He shows man betrayed not only by man, but by time - a recurring theme which has found its proper scenic correlative . . . Pinter captures the psyche's sly manoeuvres for self-respect with a sardonic forgiveness . . . a master craftsman honouring his talent by setting it new, difficult tasks' New Society 'There is hardly a line into which desire, pain, alarm, sorrow, rage or some kind of blend of feelings has not been compressed, like volatile gas in a cylinder less stable than it looks . . . Pinter's narrative method takes "what's next?" out of the spectator's and replaces it with the rather deeper "how?" and "why?" Why did love pass? How did these people cope with the lies, the evasions, the sudden dangers, panic and the contradictory feelings behind their own deftly engineered masks? The play's subject is not sex, not even adultery, but the politics of betrayal and the damage it inflicts on all involved.' The Times First staged at the National Theatre in 1978, Betrayal was revived at the Almeida Theatre, London, in 1991. Twenty years after its first showing, it returned to the National in 1998.… (mehr)
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A three-hander first performed in 1978, with Penelope Wilton, Michael Gambon and Daniel Massey appearing in Peter Hall's original NT production. Jerry and Robert are best friends who studied together, play squash together, and both ended up working as publishers. They are both married and have children, but Jerry has had a seven-year-long affair with Robert's wife Emma. In a sequence of short, ambiguous scenes full of fragmented dialogue that never quite means what it says, Pinter digs back in time to explore different meanings of "betrayal", with each stage that we dig back into the characters' memories revealing another level of their dishonesty to each other and to themselves.

About as serious a take as it's possible to have on the banal topic of bourgeois adultery. ( )
  thorold | Feb 25, 2023 |
خیلی دوست داشتم و خوشحالم بعد از چند سال که دوست داشتم بخونمش بالاخره موقعیتش رو پیدا کردم! ( )
  Mahdi.Lotfabadi | Oct 16, 2022 |
Read in college (04-05) ( )
  The_Literary_Jedi | Jun 11, 2021 |
One of a few plays I am happy to reread/rewatch. Harold Pinter's inspiration for this was his long-term affair with Joan Bakewell, and he has said how he felt betrayed when he learnt that Joan's husband had known about the affair for a long time and not confronted him. And a wonderful exposure of human nature in the first scene when Jerry says, having heard talk that his ex-lover is seeing another man that he felt irritation that no one gossiped about us like that. Funny and painful, sparse mundane dialogue and plenty of pauses that speak a thousand thoughts. And an arresting back-to-front structure, so the audience know more than the characters as the play progresses. Wonderfully thought-provoking about relationships and what we remember about ourselves. ( )
  LARA335 | Aug 9, 2017 |
BUT I WANT THIS NOW!!!

"
  JulieCovington | May 29, 2016 |
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Well, it’s nice, sometimes, to think back. Isn’t it?
I don't think we don't love each other
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Wikipedia auf Englisch (1)

'Betrayal is a new departure and a bold one . . . Pinter has found a way of making memory active and dramatic, giving an audience the experience of the mind's accelerating momentum as it pieces together the past with a combination of curiosity and regret. He shows man betrayed not only by man, but by time - a recurring theme which has found its proper scenic correlative . . . Pinter captures the psyche's sly manoeuvres for self-respect with a sardonic forgiveness . . . a master craftsman honouring his talent by setting it new, difficult tasks' New Society 'There is hardly a line into which desire, pain, alarm, sorrow, rage or some kind of blend of feelings has not been compressed, like volatile gas in a cylinder less stable than it looks . . . Pinter's narrative method takes "what's next?" out of the spectator's and replaces it with the rather deeper "how?" and "why?" Why did love pass? How did these people cope with the lies, the evasions, the sudden dangers, panic and the contradictory feelings behind their own deftly engineered masks? The play's subject is not sex, not even adultery, but the politics of betrayal and the damage it inflicts on all involved.' The Times First staged at the National Theatre in 1978, Betrayal was revived at the Almeida Theatre, London, in 1991. Twenty years after its first showing, it returned to the National in 1998.

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