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PREFACE ACKNOWLEDGMENTS I. PINTER IN PRODUCTION 1. Pinter inRehearsal: From The Birthday Party to Mountain Language: Carey Perloff 2.Producing Pinter: Louis Marks II. POLITICAL PINTER 3. Harold PinterOsTheatre of Cruelty: Martin Esslin 4. Harold PinterOs The Hothouse: AParable of the Holocaust: Rosette C. Lamont 5. Disjuncture as Theatricaland Postmodern Practice in Griselda GambaroOs The Camp and Harold PinterOsMountain Language: Jeanne Colleran 6. The Outsider in Pinter and Havel:Susan Hollis Merritt III. PINTEROS POETICS 7. The Betrayal of Facts:Pinter and Duras beyond Adaption: Judith Roof 8. Image and Attention inHarold Pinter: Alice Rayner 9. Pinter and the Ethos of Minimalism: JonErickson IV. PINTER AND INFLUENCE 10. Xhekhov, Beckett, Pinter: TheSt(r)ain upon the Silence: Alice N. Benston 11. That first last look:Martha Fehsenfeld 12. A Rose by any other name: Pinter and Shakespeare:Hersh Zeifman 13. From Novel to Film: Harold PinterOs Adaptation of TheTrial: Francis Gillen 14. I am Powerful...and I am only the lowestdoorkeeper: Power Play in KafkaOs The Trial and PinterOs Victoria Station:John L. Kundert-Gibbs V. PINTER AND FILM 15. Art Objects as Metaphors inthe Filmscripts of Harold Pinter: Steven H. Gale 16. Pinter and Bowen:The Heat of the Day: Phyllis R. Randall VI. Alaskan Perspectives 17.Portrait of Deborah: A Kind of Alaska: Moonyoung C. Ham 18. DeborahOsHomecoming in A Kind of Alaska: An Afterword: Katherine H. Burkman WORKSCITED CONTRIBUTORS INDEX