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By Dian Henderson

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Worthen points out, tracing the new conventions of drama publication that both coincided with and facilitated Pinter’s emergence as a major playwright, his attention to, and careful differentiation between the pause, the long pause and the silence, is “one of the features most characteristic of Pinter’s dramatic writing, of his use of language”; and in order to be prepared to render them theatrically active, we have to be prepared “to read Pinter as poetry, New Critical fashion, to attribute ‘the density of texture of true poetry’ to his page”, which means “reading the ‘empty patches’ as texture, the white spaces, and the Pauses that they hold, as significant, signifying, not merely as irrelevancies intruding into the dramatic dialogue” (2003a: 221).

Applied to Hal’s situation, we can see that he may be marginally less constrained in that he is, or he will be, the embodiment of the state authority that sanctions his decisions, but, in the guises in which he has appeared on the postwar British stage, he is as deluded as any of us if he believes that the traumatic but necessary repudiation of Falstaff is a matter of free personal choice. The stability of Austin’s definition of the performative becomes even more unsettled when we recognise—as a number of “I DO, I WILL” 11 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 81 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 711 recent performance theorists, following Derrida, have done—that it rests precariously on a number of strategic exclusions.

Medium shots predominate, with intra-scene cutting only to inter-titles and diegetic text (a newspaper headline, a letter). Feuillade alternates between interior sets and location shooting in a particularly interesting way and does some remarkably subtle things with deepfocus blocking. He also makes thoughtful use of the Lear story, not merely transposing it to the provincial setting but fruitfully combining character functions so as to clarify the inter-generational conflicts at stake. Together these effects suggest a meta-narrative of sorts, about the close relationship between theatrical looking and cinematic looking.

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