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The Homecoming (Anglais) Broché – 21 janvier 1991

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Détails sur le produit

  • Broché: 160 pages
  • Editeur : Faber & Faber Plays; Édition : New Ed (21 janvier 1991)
  • Collection : Roman
  • Langue : Anglais
  • ISBN-10: 0571160808
  • ISBN-13: 978-0571160808
  • Dimensions du produit: 13 x 1,1 x 20 cm
  • Moyenne des commentaires client : 3.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
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1 internautes sur 1 ont trouvé ce commentaire utile  Par julie72 le 10 avril 2012
Format: Broché Achat vérifié
C'est une belle pièce que j'aurais aimé voir sur une scène. Très bien écrite avec de nombreux mouvements et gestes entre les acteurs, on imagine très bien les échanges entre les comédiens.
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0 internautes sur 1 ont trouvé ce commentaire utile  Par xinyi ZHENG le 28 janvier 2013
Format: Broché Achat vérifié
Une pièce de théâtre, qui parle d'un sujet bizarre, mais il est réputé par son Sujet, et les petits sketchs existés aussi!
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8 internautes sur 8 ont trouvé ce commentaire utile 
Family Reunion to Avoid 30 juillet 2001
Par "umd_cyberpunk" - Publié sur
Format: Broché
Pinter at his darkest and most experimental.
This play's first and second acts are of equal length down to the line.
Sexual deviance, abuse, name calling, assault and torture: these are the norm. These people make the rest of our families seem pretty good. The play is twisted and as much a psychological journey as anything else.
Pinter lives up the claim that his plays were like, "Beckett in doors," with this one. Though most of Pinter's plays have a dark edge to them, this one may even cross over the line, if you are paying close attention to what is really going on.
Worth reading at least twice, after the shock from the first time through, the second read (if read closely), becomes even darker and more forbidding.
Wonderfully written, and further proof that Pinter is one of the masters of modern British drama.
6 internautes sur 6 ont trouvé ce commentaire utile 
It creeps up on you, it does. 25 janvier 2007
Par Robert Beveridge - Publié sur
Format: Broché
Harold Pinter, The Homecoming (Grove, 1965)

I spent the first act of this effort from our most recent Nobel Prize winner for literature thinking "my, this is all well and good, but what is it about this play that had everyone telling me this needs to be the first Pinter I read?" Then came act two, and I understood it.

The Homecoming starts off (as you might expect given that first paragraph) unassumingly enough; a man and his wife of six years return to his ancestral home. His brothers, uncle, and father live there, and are meeting his wife for the first time; the brothers, roustabouts both of them, act a bit oddly (well, actually, a bit naturally) around the wife at first, but there's nothing terribly out of the ordinary. In fact, there's a surprising lack of family tension; the normally prickly father welcomes his wayward son home with open arms.

Then, of course, everything goes to pot in the most entertaining manner possible. I have spent years reading thousands of volumes wondering why it is that everyone has to over-emote; The Homecoming is the absolute, perfect antithesis, and I spent the entire second act wishing that these characters inhabited at least half the novels I've read in the past decade. They're deliciously perverse, and so very deadpan about it. Now, while Pinter is busy creating these characters and putting them into interesting situations (and the situations are interesting enough that the entire play can take place in a single room), he's offering some excellent satire on the family dynamic, but Pinter is talented enough to let the satire speak for itself while he concentrates on the story at hand, the mark of a man who knows how to write.

This is very good stuff, and I'll definitely be diving farther into Pinter in the coming years. *** ½
4 internautes sur 5 ont trouvé ce commentaire utile 
Home is where the heart is 7 novembre 2005
Par calmly - Publié sur
Format: Broché
5 stars going on 10. It will take me weeks to digest this one. Little bit of a surprise, eh? So Pinter is not just a political campaigner.

The quality of the dialogue knocked me off my feet. Conventions seem well-established but aren't quite the expected conventions. The family is close but not quite the expected closeness. This is hardly a dysfunctional family: it's just a family not functioning as you might have been taught a family should.

I recently watched the 1973 American Film Theatre performance of this play on VHS. Vivian Merchant, who also starred in the American Film Theatre's version of Jean Genet's "The Maids", plays Ruth in "The Homecoming". How to expect a better cast? In the hands of those incredible actors, this play slammed into me. It will take me days to find suitable words to describe what hit me. Unlike the plays of Pinter's friend Beckett, "The Homecoming" can't be dismissed as Theatre of the Absurd. Not that there isn't absurdity, but that Pinter works hard to interwine it with familiar daily routines.

No boring moments. At the beginning the hostilities seemeed contrived but very soon a lot more was going on. Most of us aren't as creative as this family in finding a way to make the family work ... and most of us probably wouldn't want to be. But they are close and not just because of what they share during this visit. The father especially struck me as rising above his angers to find a love (however unconventional) for his sons and that warmth became unmistakeable as the play progressed. No? Well, something special is going on in "The Homecoming" and I'll probably need many passes to understand what it is. But, with such rich dialogue, many passes seem warranted.
1 internautes sur 1 ont trouvé ce commentaire utile 
An Addition to the Family. Then What? 17 décembre 2012
Par not a natural - Publié sur
Format: Broché
I've seen two performance of Pinter's play The Homecoming and enjoyed both, but I couldn't say that I knew what to make of it. I've also read the play several times and come away with the same response: I enjoyed it, but it was elusive. If we step back and ask ourselves what we've got, at the outset it's all pretty ordinary. A working class house in a working class neighborhood in a working class section of London, a large city with a long history. The house may be a bit shabby and in some ways antiquated, but it's still passably comfortable, an ordinary structure that could provide the physical basis for a home worthy of the name.

The house has four full-time residents; I'll call them the family. They may not be typical, but, as with the house, they, too, are pretty ordinary. The patriarch is a crotchety, maybe even mean spirited seventy year old retired butcher who spends a good deal of his time complaining about the deficiencies of the other three. His younger brother is an sixty-three year old chauffeur not ready to admit that much of life has passed him by. The patriarch's two live-in sons are a thiry-something small time pimp and grifter, and a day laborer in his twenties who goes to the gym every evening hoping to become a big-time boxer. So we've got an aged bully, an ineffectual but more or less satisfied dreamer, a fast-talking hustler, and a poor dolt for whom making it big would be painful, forcing him to rub elbows with his betters.

Reading the play or seeing it performed it's clear that nothing much has changed in the house for a long time. There is a lot of talk of the past, of Jessie, the wife, mother, and sister-in-law who passed away before her time. And of MacGregor, a brawny, brawling friend of the family that the patriarch remembers fondly, a real man and a fun guy, as well. Besides occasional, unrealistic fantasies, one wonders what keeps the family and its members going. What motivates them? What do they look forward to? Do they ever have a good time? Or is it all just griping, complaining, and posturing, repeating each day much like the one before and the one to follow?

Enter the third and oldest son, with his wife, Ruth, the mother of his three boys. Upwardly mobile in the extreme, he has a Ph.D. and teaches philosophy at a university in the U.S. In his middle thirties and by most measures actively engaged in the social, intellectual, and professional life of the world at large, he's come home for a brief visit after a lengthy estrangement. Why? Who knows? That's just what people do even if it's easy to foresee that a homecoming might be uncomfortable, even self-mortifying.

And you'll find no phony shows of familial warmth in this house. The family begins by talking past the newcomers -- when did they get in and what the Hell are they doing here? Maybe the family is already anticipating an uncomfortable arousal from the settled predictability of their seemingly unsatisfying lives. Until the homecoming of the oldest son and his wife, Pinter's play portrayed the world as readily understandable, even if empty of everything but petty annoyances. It becomes immediately clear, however, that Ruth is going to change all that.

This time I finished reading Pinter's play with the feeling that the family had been set up by Ruth. Perhaps, in an affluent American way, her life, too, had been dully annoying and devoid of promise and excitement. If that's the case, she recognized an opportunity when she saw one, and she had all the attributes needed to make the most of it. In any case, things will never again be the same in this working class house, in a working class neighborhood, in this large and storied city. The form that relationships will take and the paths that lives will follow have suddenly become wildly uncertain. All because an oddly detached son decided it was time for a visit that turned into more of a homecoming for his wife than for him.

A familial revolution was wrought by what looked like a commonplace intrusion. We may tentatively offer explanations of why this happened and the form it took, but that's all in retrospect. Foreseeing these outcomes and what is to follow is impossible.

Since I first wrote this review, I've read more plays by Pinter. I think The Homecoming is one of his best. It's an example of what I've come to call uncluttered existentialism, distinguishing it from plays such as The Birthday Party in which Pinter wanders into territory marked off by the theater of the absurd as well as nonsense as a pointless end in itself. Figuring out how to appreciate Pinter's work takes time and effort, as well as a willingness to accept the persistence of a measure of uncomprising elusiveness.
Relentless! 25 septembre 2011
Par B. Wilfong - Publié sur
Format: Broché Achat vérifié
"The Homecoming" was labeled by one early critic as a "comedy of menace", and I feel that sums it up better than anything else I have heard. This is a dark, deeply ambiguous, and funny play. I first read this play in college, and then again recently, soon after seeing an excellent production of it at the Stratford Shakespeare Festival in Ontario Canada staring Brian Dennehy. Being older and more experienced, I feel much better about the play then I did when I first encountered it years ago.
I am hesitant to say what the play is about, because even after seeing a very good production, and reading the text closely, there are a myriad of possibilities about how to interpret the script, and the nuances therein. The play certainly is about family relationships, sexual jealousy, gender power dynamics, and many other things to boot. And yet, Pinter never gives us an insight into what he really thinks about these things, and at times I am not even sure the characters do. And it works!
A strength of the play are the characters Max and Lenny. In Lenny especially Pinter has created a daunting and very intriguing character that can make the audience squirm in their seats. He is dark, funny, smart, and a pimp. A wonderful role for a talented performer to sink his teeth into. In fact, all of the roles have wonderful possibilities in performance.
However, the greatest power in the play lies not in what is said, but rather in what is NOT said. It is there that the reader is stimulated into following up on hints in the text, and making up most of the story for themselves in their head. The infamous "Pinter pause" is certainly on display in this work. I can imagine many interesting conversations to be had while arguing about what the play is really saying.
Some readers hate that ambiguity, I love it. It is a personal preference so be warned, if you pick up "The Homecoming" you will be left with more questions than answers.
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