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Staging Authorship: Pinter's No Man's Land and Shepard's True West

Staging Authorship: Pinter's No Man's Land and Shepard's True West Staging Authorship: Pinter's No Man's Land and Shepard's True West Nicholas Crawford The Comparatist, Volume 27, May 2003, pp. 138-164 (Article) Published by The University of North Carolina Press DOI: https://doi.org/10.1353/com.2003.0019 For additional information about this article https://muse.jhu.edu/article/414770/summary Access provided at 18 Feb 2020 10:56 GMT from JHU Libraries STAGING AUTHORSHIP: PINTER'S NO MAN'S LAND AND SHEPARD'S TRUE WEST Nicholas Crawford Modern dramatists have long questioned whether language use is a manifestation of agency and individuality or a capitulation to preexisting cultural capital, a surrender to the great homogenizer, the marker of the way we are all alike. Speech can either inure to presence or mark an ab- sence of selfhood. This issue is taken up as early as August Strindberg's 77ie Stronger (1890), where the action suggests that Miss. Y. is stronger than Mrs. X. even though Mrs. X. speaks incessantly and Miss Y. says not a word. Similarly, the mechanical predictability ofcharacters' speech in Elmer Rice's expressionist play The Adding Machine (1923) reveals the language of social intercourse to be little more than a reproducible cookie-cutter artifact like any other from the assembly-line age. Lan- guage in absurdist plays also often signals a lack of selfhood, as http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Staging Authorship: Pinter's No Man's Land and Shepard's True West

Crawford, Nicholas.
The Comparatist , Volume 27 – Oct 3, 2012
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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887

Abstract

Staging Authorship: Pinter's No Man's Land and Shepard's True West Nicholas Crawford The Comparatist, Volume 27, May 2003, pp. 138-164 (Article) Published by The University of North Carolina Press DOI: https://doi.org/10.1353/com.2003.0019 For additional information about this article https://muse.jhu.edu/article/414770/summary Access provided at 18 Feb 2020 10:56 GMT from JHU Libraries STAGING AUTHORSHIP: PINTER'S NO MAN'S LAND AND SHEPARD'S TRUE WEST Nicholas Crawford Modern dramatists have long questioned whether language use is a manifestation of agency and individuality or a capitulation to preexisting cultural capital, a surrender to the great homogenizer, the marker of the way we are all alike. Speech can either inure to presence or mark an ab- sence of selfhood. This issue is taken up as early as August Strindberg's 77ie Stronger (1890), where the action suggests that Miss. Y. is stronger than Mrs. X. even though Mrs. X. speaks incessantly and Miss Y. says not a word. Similarly, the mechanical predictability ofcharacters' speech in Elmer Rice's expressionist play The Adding Machine (1923) reveals the language of social intercourse to be little more than a reproducible cookie-cutter artifact like any other from the assembly-line age. Lan- guage in absurdist plays also often signals a lack of selfhood, as

Journal

The Comparatist – University of North Carolina Press

Published: Oct 3, 2012

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