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The Homecoming (Anglais) Broché – 21 janvier 1991

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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: 12,6 x 1,1 x 19,8 cm
  • Moyenne des commentaires client : 3.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
  • Classement des meilleures ventes d'Amazon: 11.150 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Par xinyi ZHENG sur 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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Par julie72 sur 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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Commentaires client les plus utiles sur (beta) 21 commentaires
7 internautes sur 7 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.
2 internautes sur 3 ont trouvé ce commentaire utile 
About what we fear deep down 14 mars 2008
Par Sirin - Publié sur
Format: Broché
The homecoming has been described as a Jewish family play, though this is a little patronising for it illuminates single truths. The action takes place in a single room. It is tense, taught, claustrophobic in the extreme. Teddy, a successful academic and his beautiful wife return to his family home in North London, a male only household. His brothers have not achieved as he has, instead they operate on the murky fringes of working class society. Lenny, in particular is a sly and dangerous man. He is well aware of the unspoken masculine power dynamics at play, and pulls the strings with devious and malevolent effect. The play becomes tighter and tenser as the action progresses. Eventually, rips occur - tears in the fabric of the surface of close family life. Surreal and astonishing things happen. Characters behave according to their true natures. Personalities are laid bare in their essence. Pinter shows us what we fear deep down in our relations with others, but are afraid to face head on.
9 internautes sur 14 ont trouvé ce commentaire utile 
Really 3.5 stars, 11 juillet 2000
Par Arkaan Semere - Publié sur
Format: Broché
This is my first Pinter play, but it won't be my last. However, I can't give it an entirely favourable review. In my mind, I keep comparing to the masterpieces of family disfunction on stage, particularly Albee's Who's Afraid of Virginia Woolf, and Osborne's Look Back in Anger.
Pinter is a playwright in complete control of style. The diction and dialogue of his characters, the pauses (including the infamous PINTER pause), and the specificity of the characters make him a playwright one should definetly read and ponder. However, I doubt the Homecoming can be considered his best play, or I would seriously wonder about the reputation that he was given.
The Homecoming is undermined by the that Pinter doesn't want us to sympathize with these characters. A good playwright can make that a plus, but instead, Pinter also doesn't allow us to understand them. The characters are either aloof or loathsome. In the end, the plays biggest fault is it's lack of motion. No one changes, no one moves forward, there's really no motivation to finish the play.
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