But how to restore Pinter's former potency? Ah, there's the rub; the decline of "monoculture" may have dealt a greater blow to the absurdists and existentialists than it has to the bourgeoisie (which, in case you haven't noticed, is flourishing). And so far, at least, no one has managed to crack the carapace of self-satisfaction one senses in our Gen-Y "glibertarians" - they're not shivering in some Beckettian wasteland, struggling with the bleak truths of the absurdists; they are, instead, snug as bugs in their respective digital rugs. And the idea of using absurdity to attack their own assumptions strikes most them as, well, simply absurd; indeed, their strategy of simultaneous disconnection from, yet accommodation to, the social and political world may make them all-but-impervious to theatre as a mode of communal critique.
Wednesday, October 14, 2009
On Pinter's Impotency
Thomad Garvey reviews the Nora production of The Caretaker and finds the menace missing; but after seeing several recent Pinter's, which have also failed to deliver the chills, he is hesitant to blame the productions.