It may seem a truism to remark that Harold Pinter is all about the pause, the silence, and the unsaid. When the Broadway revival of Pinter’s 1978 play Betrayal, directed by Mike Nichols, did away with the pauses and silences indicated in the text, the final product was an unfamiliar kind of Pinter. Nichols’s fast-paced and glamorous staging of Betrayal turned the playwright’s undertow of erotic tension and menace into an overt display of passion and aggression. This lack of restraint in the characters’ emotions was echoed in the production design that pulled all the stops to deliver the love-triangle story in a glossy, star-studded package. While this Betrayal might not have been the delicate play of melancholy regret one expects, it lay bare the latent relationship between art and money that the characters negotiate and how they eventually sell out.
On the surface, Betrayal tells a banal story of the friendship between Robert and Jerry, and of the affair between Jerry and Robert’s wife Emma, in reverse chronology, from 1977 to 1968. Indeed, this is how the early London theatre critics saw the play when it premiered—as a petty tale of adultery. Since then, Betrayal has been reconsidered as a masterpiece of Pinter’s “memory period,” alongside Landscape (1968), Old Times (1971), No Man’s Land (1975), and Family Voices (1981)—works that explore the comic and dolorous vagaries of human memory and the haunting persistence of the past in the present. Productions that focus on subtlety and insinuation, like Ian Rickson’s 2011 superb London production starring Kristin Scott Thomas, accentuate the characters’ penchant for poetry and wit. Emma, Robert, and Jerry are not just lovers, but lovers of language. Thus the games they play are not merely erotic but linguistic, for language and seduction are intimately connected in Pinter. Well-versed in modern prose, the trio knows that words and silence have many meanings.
They play with one another, and part of the pleasure of watching such a cerebral cat-and-mouse game is that the audience often does not know how much a character knows at a given moment. In such subtle interpretations, the characters tend to appear as sensitive souls in search of intimacy and solace. Their silences seem charged with inner thoughts. Yet, while Pinter cultivates ambiguity on the level of language, he makes sure to emphasize his characters’ occupations. Jerry is a literary agent; Robert is a publisher; Emma is a gallerist.
They are creative people though deeply enmeshed in the commercial side of art, as we hear them simultaneously both skewer and support Casey—the novelist who never appears onstage, but who is the bread and butter of their incomes. Whether intentionally or not, Nichols’s blockbuster Betrayal highlighted this shady side of the characters’ involvement with the arts. Performed with no intermission, this was a speedy and libidinous ninety-minute Betrayal that sought to seduce the audience with racy scenes between celebrity co-stars and with impressive floating sets designed by Ian MacNeil. The ensemble of real-life spouses Daniel Craig and Rachel Weisz and West End veteran Rafe Spall was bound to make a splash, and it did. The show set a box-office record at the Ethel Barrymore Theatre in its first week of previews, prompting the New York Times to bemoan that the “astronomical ticket prices” for Betrayal were out of reach for general theatregoers. The floodlights of Broadway inadvertently brought to light the unflattering features of the characters—their brutality and philistinism. Nichols was clearly uninterested in intimation or understatement.
In his energetic version, the openly temperamental characters neither equivocate nor do they veil their motivations. A telling instance took place in scene 7 when Robert and Jerry dine at a restaurant in the summer of 1973.
Robert, played by Craig with Neanderthal ferocity, turns to Jerry and says: “You know what you and Emma have in common? You love literature.
I mean you love modern prose literature, I mean you love the new novel by the new.
Betrayal is Pinter's latest full-length play since the enormous success of No Man's Land. The play begins in 1977, with a meeting between adulterous lovers, Emma and Jerry, two years after their affair has ended. During the nine scenes of the play, we move back in time, through the states of their affair, with the play ending in the house of Emma and Robert, her husband, w Betrayal is Pinter's latest full-length play since the enormous success of No Man's Land.
The play begins in 1977, with a meeting between adulterous lovers, Emma and Jerry, two years after their affair has ended. During the nine scenes of the play, we move back in time, through the states of their affair, with the play ending in the house of Emma and Robert, her husband, who is Jerry's best friend. The classic dramatic scenario of the love triangle is manifest in a mediation on the themes of marital infidelity, duplicity, and self-deception. Pinter writes a world that simultaneously glorifies and debases love.
This probably works better on the stage than it does on the page. Frankly, I was disappointed. True to its title, Betrayal is a story about betrayal and deception. The play is centered on three people: Emma, Robert, and Jerry.
Emma, who is married to Robert, has had a long-term affair with Robert's best friend Jerry. The opening scene is of Emma and Jerry meeting for a drink two years after their affair has ended. The play then works its way chronologically backwards in time, feeding us more deta This probably works better on the stage than it does on the page.
Frankly, I was disappointed. True to its title, Betrayal is a story about betrayal and deception. The play is centered on three people: Emma, Robert, and Jerry. Emma, who is married to Robert, has had a long-term affair with Robert's best friend Jerry. The opening scene is of Emma and Jerry meeting for a drink two years after their affair has ended. The play then works its way chronologically backwards in time, feeding us more details of their tangled relationships with each new scene.
The play provides a perspective into the way in which we might betray and deceive others, as well as the way in which we might betray and deceive ourselves. I thought it was an interesting look at the attempt to hold onto relationships even though they might not fulfill us or make us happy. Fear of change? It was interesting watching the characters stumble through their relationships, sometimes as if on automatic pilot. The best aspect of the play was in how it was structured: in reverse order from the end of the affair to the very beginning.
I thought that was truly well done. In fact, what I found so interesting was how the characterizations were developed. By providing you with the ending first, the author allows you to make judgments about these characters, then challenges those judgments by providing more and more insight into their past.
Still, despite these interesting elements, I thought that overall the story was unremarkable. Final Rating: 3 stars. I actually listened to this as a BBC Radio Drama that starred Olivia Colman and Andrew Scott. I'd heard he'd won the BBC Audio Drama, Best Actor Award for it, and I liked him from BBC Sherlock so I thought it would be worth listening to. This is a very interesting and thought provoking play. First of all, it's presented chronologically backwards. We meet the two people who have had an affair after their affair is over, as they are having a discussion o I actually listened to this as a BBC Radio Drama that starred Olivia Colman and Andrew Scott.
I'd heard he'd won the BBC Audio Drama, Best Actor Award for it, and I liked him from BBC Sherlock so I thought it would be worth listening to. This is a very interesting and thought provoking play. First of all, it's presented chronologically backwards. We meet the two people who have had an affair after their affair is over, as they are having a discussion over lunch. The woman reveals she has told her husband that she'd cheated on him with the ex-lover, who is his best friend.
Telugu kathalu online read. He's angry because she didn't consult him first, and then we hear his conversation with his friend. (who has really known for several years.) The ex-lover / wife had lied during the first conversation.
It proceeds from there, slowly revealing various lies the friends/spouses/lovers have told each other over the years and highlights their reactions to the various 'betrayals'. It is very thought provoking. I think my favourite moment of the play was when Andrew Scott's character, Jerryangrily shouts at his best friend, Robert, for not telling him that he's known about the affair that he'd had with his friend's wife, Emma, for four years. Jerry feels a fool for thinking all was fine between them and that his betrayal of his friend with Emma was a secret, while his friend Robert simply didn't act on the knowledge and acted normally.
The bizarreness of Jerry being angry about NOT being confronted for having an affair with his best friend's wife was incredibly well acted. And while he didn't really have any moral right to be angry, you could see why he was upset. Both Emma and Robert knew the truth was out, and neither had told him.
It was really a great moment, well acted. In a play full of moments worth listening to.
Makes you think about all the different lies and different kinds of betrayals we have in daily life. (Evidently the play was based on the author's real life affair with a famous female BBC broadcaster.) Edited on December 17th, 2014 on rereading, after realizing I really should have spoiler warnings in several spots.
At the time I originally posted I didn't know how to insert them- CRM. This review has been hidden because it contains spoilers. To view it, From theconversation.com: The word ruling this play is “when”.
When did Jerry know that Emma had told Robert, her husband, of their affair? When did Emma know that Robert knew, and decide not to tell Jerry, but continue it? When did Jerry decide he would not leave Judith, his wife, and was this the catalyst for Emma to say, while pregnant with her son, Ned, that Robert was the father, not Jerry? When was the moment of real betrayal? When Jerry drunkenly declared undying love to his best friend’s w From theconversation.com: The word ruling this play is “when”. When did Jerry know that Emma had told Robert, her husband, of their affair? When did Emma know that Robert knew, and decide not to tell Jerry, but continue it?
When did Jerry decide he would not leave Judith, his wife, and was this the catalyst for Emma to say, while pregnant with her son, Ned, that Robert was the father, not Jerry? When was the moment of real betrayal? When Jerry drunkenly declared undying love to his best friend’s wife behind his best friend’s back? When Emma responded? When they slept together for the first time? When they carried on sleeping with their marriage partners? Scene four: drinks at Robert and Emma’s; Emma offstage, with Ned, Jerry and Robert onstage, talking.
What we don’t see, but will see later, is that Robert knows about the affair, and Emma knows he knows. What we don’t see, and will never see, is what this means exactly, because she has not given him up, and Robert tolerates this, and so does she – Robert knowing, Jerry not knowing he knows.
Casually Jerry says he will be taking a trip to America. He has not told Emma, and when he leaves it is clear this is devastating news for her.
She then turns to Robert for what? Is it possible – that a wife would turn to her husband for solace when her lover casts her off And: And a betrayal to the self. For admiting i dont love u anymore is much harder.
Even when Emma is giving Jerry the news of her pregnancy she is yearning for a new start but cant say it out loud. And can Robert be also betraying his insticts when he says i preferred to be in a relationship with Jerry myself? Living a secret life? Betrayal is a play about a woman, Emma, who is cheating on her husband, Robert, with his best friend, Jerry. Ok, so the story's been done before, but Pinter gives it his signature twist and has a way of making the characters very, very uncomfortable.
The structure of the play is unique, as the story is not told in chronological order, but time is scattershot throughout the piece. I would be very interested in seeing this play live, as I don't know how they would let the audience know when the sp Betrayal is a play about a woman, Emma, who is cheating on her husband, Robert, with his best friend, Jerry. Ok, so the story's been done before, but Pinter gives it his signature twist and has a way of making the characters very, very uncomfortable. The structure of the play is unique, as the story is not told in chronological order, but time is scattershot throughout the piece. I would be very interested in seeing this play live, as I don't know how they would let the audience know when the specific events take place.
Pinter gives us the end of the affair between Emma and Jerry first; their first intense meeting last. TSome of the scenes could be very emotional. Pinter leaves a lot of room for the actors to build on and develop. Just reading it probably does not do it justice, as I had problems at times trying to figure out why these two were so drawn to each other. Their relationship seemed at times to be just as sterile and superficial as their marriages. Perhaps that is the point. Definitely one to think about.
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In Betrayal, the focus for me was largely on what is not said than what is actually said between three characters. It is very raw and conversation feels extremely spontaneous, but in virtually every scene my toes were curling with the awkward atmosphere. The dialogue is very simple in terms of words but as to what is actually being 'said' by the characters is somewhat more complex so resist the temptation to read it at lightening speed (it is a very short read) or at least read it twice with the In Betrayal, the focus for me was largely on what is not said than what is actually said between three characters. It is very raw and conversation feels extremely spontaneous, but in virtually every scene my toes were curling with the awkward atmosphere.
The dialogue is very simple in terms of words but as to what is actually being 'said' by the characters is somewhat more complex so resist the temptation to read it at lightening speed (it is a very short read) or at least read it twice with the ability to use retrospect as your guide the second time. As far as character attachment is concerned I really didn't care what unfolded between the characters and if the book had been longer then I probably would have stopped reading, but it's brevity meant that I had no excuse but to see it through only to be startlingly underwhelmed at a complete lack of character development over a 9 year period set out in the book. But then again, I must reiterate that this was a story intended for stage, and as its focus is on what is not said I presume body language and styling would have to virtually carry the characters through. At the start I really had Emma down as the villain, but once I'd reached the final chapter I felt Jerry's very sinister introduction to the affair between them somewhat made him out to be the more responsible of the pair. Which is another thing to be continually conscious of, the story is told in a sort of reverse chronological order so you have to concentrate as far as making a mental timeline as you go through the story.
Perhaps what people (myself included) may find so highly irritating is the tremendous build up to an explosive affair reveal that never actually occurs. When Robert discovers his wife Emma's affair with his best friend Jerry, Roberts response to Emma is 'I like Jerry rather more than I like you, perhaps I should have had an affair with him myself' The only reason I can think Pinter did this was to emulate the response of Bakewells husband when he found out Pinter was having an affair with his wife (that interestingly also lasted seven years) Bakewells husbands response was 'the best living playwright, very appropriate' If you are looking for something highly entertaining and gritty 'betrayal' is not it. If you enjoy Pinter, the topic of middle class adultery and a lot of reading between the lines, then maybe you'll enjoy it. It's a commonplace of the theater that the script is not the show: the dialogue and stage directions on the page are only a template for what can be presented in the theater. This means that reading a play belongs in a different category of literary experience from reading almost anything else.
We can assume a novel, a poem, an essay, to be as complete and coherent as the author wishes; what we make of it in reading depends on us, but what we've got is the end product. A playscript, though, is d It's a commonplace of the theater that the script is not the show: the dialogue and stage directions on the page are only a template for what can be presented in the theater. This means that reading a play belongs in a different category of literary experience from reading almost anything else. We can assume a novel, a poem, an essay, to be as complete and coherent as the author wishes; what we make of it in reading depends on us, but what we've got is the end product. A playscript, though, is deliberately left to be finished, either by the dramatic imagination of a reader or by the combined efforts of the players and their partners in a theater. This is particularly true of Harold Pinter's plays, which are notable for all the pauses and silences specified in the texts, and especially true of Betrayal, for two reasons. One, in this drama of a love triangle involving two men and one woman, much is left unspoken by the characters and unwritten by the author, as usual with Pinter.
Two, the story is told backwards, from end to beginning (though it moves forwards within some sections), which upends our usual way of grasping things. When we meet Jerry, a literary agent, and Emma, the wife of a publisher who's also Jerry's best friend, it's two years after the end of their affair. Other than what they mention, we don't know how they got here, though they do. When we finally see them nine years earlier, we already know where it's going; the characters don't even know that the scene begins an affair, but we do. Throughout, we don't see things the way the characters must, caught in their moment and moving forward in time. A reader has to construct some sense of their view of things, which differs from his/her own view.
As with most plays, I'd rather see it than read it. But for richness of possibility, among other reasons, this play is a beauty. It is the film you want to see, not the book: From today's obituary: Pinter once said of language, 'The speech we hear is an indication of that which we don't hear. It is a necessary avoidance, a violent, sly, and anguished or mocking smoke screen which keeps the other in its true place.
When true silence falls we are left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness.'
One of t It is the film you want to see, not the book: From today's obituary: Pinter once said of language, 'The speech we hear is an indication of that which we don't hear. It is a necessary avoidance, a violent, sly, and anguished or mocking smoke screen which keeps the other in its true place. When true silence falls we are left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness.' One of the great writers of the 20th century. This play by the Nobel winning playwright is typical Pinter.
Filled with black humor and dialogue, each character is both real, and thoroughly dislikable in my opinion. “EMMA: You know what I found out. He's betrayed me for years. Other women for years.
(Pause) But we betrayed him for years. EMMA And he betrayed me for years.
JERRY Well I never knew that. EMMA Nor did I.” What is happening? This is a play of lies.
Each character's betrayal slowly unfolds thro This play by the Nobel winning playwright is typical Pinter. Filled with black humor and dialogue, each character is both real, and thoroughly dislikable in my opinion. “EMMA: You know what I found out. He's betrayed me for years.
Other women for years. (Pause) But we betrayed him for years. EMMA And he betrayed me for years.
JERRY Well I never knew that. EMMA Nor did I.” What is happening? This is a play of lies. Each character's betrayal slowly unfolds throughout the dialogue.
Everyone is left damaged. Classic Pinter. I was introduced to Pinter's writing to see Nobel-winning subtlety at work. The pauses make the play.
On a continuum of clarity, the script of Betrayal is enigmatic but on audio, as performed on BBC Radio 4 (Andrew Scott as Jerry!), the play reaches the other end of the scale. Judging this piece of work by its words on paper alone would not be doing it justice. Having read and listened to the play, I want to see it on stage, because as little is stated in black and white, the story is clear and d I was introduced to Pinter's writing to see Nobel-winning subtlety at work. The pauses make the play. On a continuum of clarity, the script of Betrayal is enigmatic but on audio, as performed on BBC Radio 4 (Andrew Scott as Jerry!), the play reaches the other end of the scale. Judging this piece of work by its words on paper alone would not be doing it justice.
Having read and listened to the play, I want to see it on stage, because as little is stated in black and white, the story is clear and definite. There is potential for performance but it could be another challenge staying true to the script, especially in terms of conciseness. The scenes tell the story backwards.
Betrayal Harold Pinter
We start from Jerry and Emily meeting up two years after the end of their 7-year love affair. Every scene that follows takes us a year or a few years back, until the night they started the affair. I felt unsettled seeing how Jerry and Richard interact after Emily has confessed to Richard. Somehow, it feels worse seeing the three of them in the old days when things seemed happier between them.
As the events progress, I kept imagining what was in Judith's mind, that if she knew about the affairs all along, if she had her own lovers too. The structure of events makes me wonder how actors would feel after the story of betrayal stops at the beginning of everything. I can picture them enveloped in ten times the helplessness and distrust I felt.
At the end of the play, I had all the previous scenes replaying in my minds as I knew the events would take place. Pinter has the story stop at a place where we think we are in the 'good old days', at the same time knowing we can't do anything to keep the 'good times' from ending, also doubting who else is betraying whom.
I'm curious and need to find out why Jerry calls Richard Casey in the beginning, and why the two writers working with Jerry are mentioned. Some time ago I saw an excellent performance of this Harold Pinter play by an amateur theatre group The Finn-Britt Players, and finally decided to try this one out in written form as well. The story of an affair between two married people in a situation where all involved know each other might easily turn soapy or disinteresting, but Pinter has loaded his scenes with intense emotion and perfectly sharp dialog.
His talent makes “Betrayal” a nail-biting drama, employing the sometimes tricky method Some time ago I saw an excellent performance of this Harold Pinter play by an amateur theatre group The Finn-Britt Players, and finally decided to try this one out in written form as well. The story of an affair between two married people in a situation where all involved know each other might easily turn soapy or disinteresting, but Pinter has loaded his scenes with intense emotion and perfectly sharp dialog. His talent makes “Betrayal” a nail-biting drama, employing the sometimes tricky method of presenting the scenes in reverse chronological order. Sometimes the simplest, most often used elements can be a vessel of keen observation and insight into the human condition, and this play with its lost, nuanced, deeply imperfect and infinitely identifiable characters is a top-grade testament to that. One of a few plays I am happy to reread/rewatch. Harold Pinter's inspiration for this was his long-term affair with Joan Bakewell, and he has said how he felt betrayed when he learnt that Joan's husband had known about the affair for a long time and not confronted him. And a wonderful exposure of human nature in the first scene when Jerry says, having heard talk that his ex-lover is seeing another man that he felt irritation that no one gossiped about us like that.
Funny and painful, sparse mund One of a few plays I am happy to reread/rewatch. Harold Pinter's inspiration for this was his long-term affair with Joan Bakewell, and he has said how he felt betrayed when he learnt that Joan's husband had known about the affair for a long time and not confronted him. And a wonderful exposure of human nature in the first scene when Jerry says, having heard talk that his ex-lover is seeing another man that he felt irritation that no one gossiped about us like that. Funny and painful, sparse mundane dialogue and plenty of pauses that speak a thousand thoughts. And an arresting back-to-front structure, so the audience know more than the characters as the play progresses.
Wonderfully thought-provoking about relationships and what we remember about ourselves. I had meant to read Betrayal for a while now, but never found the perfect mood, until one solitary Saturday night in, I simply felt the need to read Pinter. I recited this in bed and it was simply wonderful. The first and second scenes were everything I look for in theatre and in Pinter: the silence, the awkward, the confusion, the words words words. After that, the play managed not to lose my interest, although I would have simply been over the moon with happiness had it been the same during th I had meant to read Betrayal for a while now, but never found the perfect mood, until one solitary Saturday night in, I simply felt the need to read Pinter.
I recited this in bed and it was simply wonderful. The first and second scenes were everything I look for in theatre and in Pinter: the silence, the awkward, the confusion, the words words words. After that, the play managed not to lose my interest, although I would have simply been over the moon with happiness had it been the same during the entire play. I loved the exploration of love, marriage, truth and yes, betrayal that it did, which was completely successful due to the non-chronological order of the scenes. A thoroughly enjoyable read.
Depressing, ugly picture of human life. Also, class made me feel rather stupid considering we spent most of our time talking about the possibility of a homosexual relationship between Robert and Jerry, which I did not pick up on AT ALL the first time I read it. But then later, my professor switched gears and acted as if that was just a totally hypothetical possibility, probably thought of by the characters but never realized because of their British sense of propriety. Rather confusing of Depressing, ugly picture of human life. Also, class made me feel rather stupid considering we spent most of our time talking about the possibility of a homosexual relationship between Robert and Jerry, which I did not pick up on AT ALL the first time I read it.
But then later, my professor switched gears and acted as if that was just a totally hypothetical possibility, probably thought of by the characters but never realized because of their British sense of propriety. Rather confusing of him. ROBERT: It's true I've hit Emma once or twice. But that wasn't to defend a principle. I wasn't inspired to do it from any kind of moral standpoint.
I just felt like giving her a good bashing. The old itch.you understand.
“JERRY: Look at the way you're looking at me. I can't wait for you. I'm bowled over, I'm totally knocked out, you dazzle me, you jewel, my jewel, I can't ever sleep again, no, listen, it's the truth, I won't walk, I'll be a cripple, I'll descend, I'll diminish, into total paralysis, my life is in your hands, that's what you're banishing me to, a state of catatonia, do you know the state of catatonia? The state of.where the reigning prince is the prince of emptiness, the prince of absence, the prince of desolation. EMMA: My husband is at the other side of that door. JERRY: Everyone knows. The world knows.
But they'll never know, they'll never know, they're in a different world. I'm madly in love with you.
I can't believe that what anyone is at this moment saying has ever happened has ever happened. Nothing has ever happened. Your eyes kill me. You're wonderful.” —.
Related Content - 2008 Betrayal is a play written by Harold Pinter in 1978. Critically regarded as one of the English. Create a book Download as PDF Printable version. By Harold Pinter; DramaOnline. EBook: Document: Drama. London: Bloomsbury.
Betrayal Harold Pinter Full Text
Betrayal by Harold Pinter. First published by Eyre Metheun Limited. 1978 First produced in National Theatre, November 1978. Selected UK Productions.
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