| المستخلص: |
يتناول هذا البحث جانبا جديدا من اعمال هارولدبنتر وهو: علاقته بالمسرح الحديث. وقد حرصت الباحثة على عقد مقارنة بين بنتر وابي المسرح الحديث "هنريك إبسن". وتوصلت إلى ان اعمال بنتر تنبع من جذور هذا المسرح. ولا تتفق مع مسرح الغضب او العبث أي مسرح النصف الثاني من القرن العشرين أو المسرح المعاصر. وبرهنت على ذلك بمقارنة مسرحيتين للكاتبين، حيث تتفق المسرحيتان في الشكل والمضمون، وصورة الشخصية المحورية، بالإضافة إلى واقعية تفاصيل خلفية الحركة في المسرحيتين، وطبيعة الوصف وأشارت إلى اختلاف مسرحية "بنتر" عن نمط مسرح اللا معقول ومسرح الغضب، مما يعزز فكرة اصالة الكاتب وثراء عمله المسرحي.
The essence of Harold Pinter’s theatre does not evolve from any affinity with contemporary forms and styles of drama. Rather, it springs from a grand tradition, that of modem drama created by such masters as Ibsen, Chekhov and Strindberg. It appears that this aspect of Pinter’s work, that is his association with the greater tradition of modem drama, has not received the attention it deserves from scholars of his work. Even in his article “Pinter and Chekhov,” John Lahr focused more on the concept of naturalism in their works rather than the former’s indebtedness to Chekhov. This paper is an attempt to tackle one aspect of Harold Pinter’s affinity with the great tradition of modem drama through a parallel study of Pinter’s Times and Henrik Ibsen’s The Master. On initial reading, the two plays may appear to be completely different but closer examination discloses common structural and thematic patterns that bring Pinter closer to Ibsen, the father of modem drama, than to such contemporary schools as the ‘Absurd’ or the ‘Angry Theatre’. It is not difficult to hear echoes of the high quality of the later Ibsen or Strindberg in all of Pinter’s work, including the attention to realistic detail of setting and naturalism of description with action giving the eventual impression of a poetic, dreamlike world.
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