Editing Harold Pinter (section)

===="Memory plays" (1968–1982)====

From the late 1960s through the early 1980s, Pinter wrote a series of plays and sketches that explore complex ambiguities, elegiac mysteries, comic vagaries, and other "quicksand-like" characteristics of [[memory]] and which critics sometimes classify as Pinter's "[[memory play]]s".<ref name=BillingtonETP>Billington, Introduction, "Pinter: Passion, Poetry, Politics", ''Europe Theatre Prize–X Edition'', [[Turin]], 10–12 March 2006. Retrieved 29 January 2011.  [[Cf.]] Billington, chap. 29: "Memory Man" and "Afterword: Let's Keep Fighting", ''Harold Pinter'' 388–430.</ref> These include ''[[Landscape (play)|Landscape]]'' (1968), ''[[Silence (1969 play)|Silence]]'' (1969), ''[[Night (sketch)|Night]]'' (1969), ''[[Old Times]]'' (1971), ''[[No Man's Land (play)|No Man's Land]]'' (1975), ''The Proust Screenplay'' (1977), ''[[Betrayal (play)|Betrayal]]'' (1978), ''[[Family Voices]]'' (1981), ''[[Victoria Station (play)|Victoria Station]]'' (1982), and ''[[A Kind of Alaska]]'' (1982).  Some of Pinter's later plays, including ''Party Time'' (1991), ''[[Moonlight (play)|Moonlight]]'' (1993), ''[[Ashes to Ashes (play)|Ashes to Ashes]]'' (1996), and ''[[Celebration (play)|Celebration]]'' (2000), draw upon some features of his "memory" [[dramaturgy]] in their focus on the past in the present, but they have personal and political resonances and other tonal differences from these earlier memory plays.<ref name=BillingtonETP/><ref name=MemoryPlays>See Batty, ''About Pinter''; Grimes; and Baker (all ''passim'').</ref>