Choosing the Medium: Pinter’s The Homecoming (1965)

  • Egil Törnqvist
Part of the New Directions in Theatre book series (NDT)


Like The Ghost Sonata, The Homecoming, considered by many to be Pinter’s best play, combines realistic and metaphorical elements. These define its basic character and at the same time are what makes its interpretation so problematic. It is a general feature of Pinter’s dramas that they demand from their recipients (be they readers, audience, translators, critics, actors or directors) a great deal of sensitivity to what is between and behind the speeches, and The Homecoming is no exception.1


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  1. 3.
    Quoted from Anita R. Osherow, ‘Mother and Whore: The Role of Woman in The Homecoming’, Modern Drama, XVII, no. 4 (1974) 430.Google Scholar
  2. 6.
    Quoted from Enoch Brater, ‘Pinter’s Homecoming on Celluloid’, Modern Drama, XVII, no. 4 (1974) 443.CrossRefGoogle Scholar
  3. 10.
    Cf. C. Carpenter, ‘“Victims of Duty?”: The Critics, Absurdity and The Homecoming’, Modern Drama, XXV, no. 10 (1982) 489–95.Google Scholar

Copyright information

© Egil Törnqvist 1991

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  • Egil Törnqvist

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