The Birthday Party (Harold Pinter) as an Absurd Drama

The 'theatre of the absurd', a term coined by the critic Martin Esslin in 1961, is used to describe the new style of theatre which developed following the Second World War. The concept refers to the plays of the 1950s and 1960s which centre on the notion that life is illogical, without purpose and devoid of meaning.

        "The Birthday Party" by Harold Pinter can be understood easily yet it has elements which make it unique and absurd. The play is often referred to as an absurd drama; the features of absurdity such as un-clarity of scenes, dialogues, language and plot are reflected. The lack of communication is used so strongly that even a pause and silence describe much more, which makes the play unique and special. The play has the usual setting as of the contemporary style but uniqueness is seen when surprise awaits in the form of imagery, unusual circumstances and lack of dialogue or sometimes strange approaches. 

      The play is full of disjointed information that has defied efforts to distinguish between reality and illusion. For example, despite the presentation of personal information on Stanley and his two persecutors, who or what they really are remains a mystery. Goldberg, in particular, has provided all sorts of information about his background, but he has offered only oblique clues as to why he has intruded upon Stanley’s life. Stanley has been leading a life of aloofness from society. He is a disappointed and frustrated artist who has taken refuge in seaside resort of Meg.  The facts of his past are so unclear that his claim to be a pianist may even be false. He feels disgusted with the prevailing customs and conventions of society. He finds it impossible to continue to live amidst such society. He is brutally and inhumanly tortured by the intruders McCann and Goldberg who represent society at large. The society treats such an individualistic artist like Stanley as a danger and pulls him back from his isolation. Stanley’s quest was always for respectful identity as an artist which he sought to establish. His endeavour to establish a healthy social relationship is futile. 

    The Birthday Party has influenced the audience to doubt anything with certainty, which as it does in Kafka’s work, intensifies the dreadful angst experienced by the protagonist. This effect is achieved through truncated dialogue, by Pinter’s deliberate failure to provide conclusive or consistent information, and by his use of ambiguity and nonsense.