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The home coming

Postby Maukree В» 17.04.2020

I will be uploading this track on SoundCloud as well, if you guys enjoyed the track, you can download it from there.

The Homecoming is a two-act play written in by Harold Pinter and first published in Set in North London, the play has six characters. Five of these are men who are related to each other: Max, a retired butcher; his brother Sam, a chauffeur; and Max's three sons — Teddy, an expatriate American philosophy professor; Lenny, who appears to be a pimp; and Joey, a would-be boxer in training who works in demolition. There is one woman, Ruth, who is Teddy's wife. The play concerns Teddy's and Ruth's "homecoming," which has distinctly different symbolic and thematic implications.

In the initial productions, Pinter's first wife, Vivien Merchant , played Ruth. The setting is an old house in North London during the summer. All of the scenes take place in the same large room, filled with various pieces of furniture. The shape of a square arch, no longer present, is visible. Beyond the room are a hallway and staircase to the upper floor and the front door. After having lived in the United States for several years, Teddy brings his wife, Ruth, home for the first time to meet his working-class family in North London, where he grew up and which she finds more familiar than their arid academic life in America.

Much sexual tension occurs as Ruth teases Teddy's brothers and father and the men taunt one another in a game of one-upmanship, resulting in Ruth's staying behind with Teddy's relatives as "one of the family" and Teddy returning home to their three sons in America without her. The play begins in the midst of what becomes an ongoing power struggle between the two more dominant men, the father, Max, and his middle son, Lenny.

Max and the other men put down one another, expressing their "feelings of resentment," with Max feminising his brother Sam, while, ironically, himself claiming to have himself "given birth" to his three sons. Teddy arrives with his wife, Ruth. He reveals that he married Ruth in London six years earlier and that the couple subsequently moved to America and had three sons prior to his returning to the family home to introduce her.

Ruth and Teddy's discomfort with each other, marked by her restless desire to go out exploring after he goes to bed and followed by her sexually suggestive first-time encounter with her brother-in-law Lenny, begins to expose that there are problems in the marriage. After a sexually charged conversation between Lenny and Ruth, Ruth exits. Awakened by their voices, Max comes downstairs.

Lenny does not tell Max about Teddy and Ruth's arrival at the house and engages in more verbal sparring with Max. The scene ends in a blackout. When the lights come up the scene has changed to the following morning. Max comes down to make breakfast. When Teddy and Ruth appear and he discovers that they have been there all night without his knowledge, Max is initially enraged, assuming that Ruth is a prostitute.

After being told that Ruth and Teddy have married and that she is his daughter-in-law, Max appears to make some effort to reconcile with his son Teddy. This act opens with the men's ritual of sharing the lighting of cigars after lunch, ending with Teddy's cigar going out prematurely and symbolically.

After Teddy's marriage to Ruth receives Max's blessing, Ruth appears to let her guard down. She relaxes and, focusing their attention on her "Look at me.

After Max and his brothers exit, Teddy abruptly suggests to Ruth that they return home immediately Apparently, he knows about her past history as "a photographic model for the body" 73 and about which she reminisces when talking to Lenny alone after Teddy has gone upstairs "to pack" for their return trip to America.

When he returns with the suitcases and Ruth's coat, he expresses concern about what else Lenny may have gotten Ruth to reveal. As Teddy looks on, Lenny initiates dancing " slowly " with her With Teddy, Max, and Joey all looking on, Lenny kisses Ruth and then turns her over to Joey, who asserts that "she's wide open"; "Old Lenny's got a tart in here" Joey begins making out with Ruth on the sofa, telling Lenny that she is "Just up my street" Max asks Teddy if he is "going" so soon; ironically, he tells Teddy, "Look, next time you come over, don't forget to let us know beforehand whether you're married or not.

I'll always be glad to meet the wife. Max adds that Teddy doesn't need to be "ashamed" of Ruth's social status, assuring Teddy that he is a "broadminded man" 75 , and "she's a lovely girl. A beautiful woman," as well as "a mother too. A mother of three. It's something to be proud of"; right after Max further asserts that Ruth is "a woman of quality" and "a woman of feeling," clasped in their ongoing embrace, Joey and Ruth " roll off the sofa on to the floor " Suddenly pushing Joey away and standing up, Ruth appears to take command, asking for food and drink, and Joey and Lenny attempt to satisfy her demands 76— After Ruth questions whether or not his family has read Teddy's "critical works" — leading Teddy to defend his own "intellectual equilibrium" and professional turf 77—78 — Ruth and Joey go upstairs for what Lenny later says turns out to be a two-hour sexual encounter in bed, without going "the whole hog" While Ruth is still upstairs, Lenny and the others reminisce about Lenny's and Joey's sexual exploits.

Lenny, whom the family considers an expert in sexual matters, labels Ruth a "tease," to which Teddy replies, "Perhaps he hasn't got the right touch" Lenny retorts that Joey has "had more dolly than you've had cream cakes," is "irresistible" to the ladies, "one of the few and far between" Lenny relates anecdotes about Joey's sexual prowess with other "birds" 82— When Lenny asks Joey, "Don't tell me you're satisfied without going the whole hog?

Lenny " stares at him. Max volunteers that Ruth could come to live with the family, suggesting that they "should keep her" while she works for them part-time as a prostitute. The men discuss this proposal in considerable detail, seemingly half-joking to irritate Teddy and half-serious 86— Sam declares the whole idea "silly" and "rubbish" 86 , Teddy adamantly refuses to "put" anything "in the kitty," as Max asks 87 , and Lenny suggests that Teddy could hand out business cards and refer Americans he knows to Ruth when they visit London, for "a little percentage" 89— Ruth comes downstairs " dressed " and apparently ready to join Teddy, who is still waiting with his coat on and their packed suitcases Teddy informs her of the family's proposal, without going into explicit detail about their intention to engage her in prostitution, saying euphemistically that she will "have to pull [her] weight" financially because they are not "very well off"; then he offers her a choice to stay in London with the family "or" to return to America with him 91— Ruth appears far more interested in the idea of staying with them.

She negotiates the terms of their "contract" 93 using business terminology in a professional manner that makes her seem adept at getting what she wants in such transactions 92— Teddy prepares to return to America without her. Having spoken up a few times earlier to voice his objections, Sam blurts out a long-kept secret about Jessie and Max's friend MacGregor, then " croaks and collapses " and " lies still " on the floor Briefly considering the possibility that Sam has "dropped dead" and become a "corpse" 94 , the others ascertain that he is still breathing "not even dead" , dismiss his revelation as the product of "a diseased imagination," and mostly ignore his body.

After a pause, Ruth accepts their proposal: "Yes, it sounds like a very attractive idea" Teddy focuses on the inconvenience that Sam's unavailability poses for him: "I was going to ask him to drive me to London airport" Instead, he gets directions to the Underground , before saying goodbye to the others and leaving to return home to his three sons in America, alone.

As he moves towards the front door, Ruth calls Teddy "Eddie"; after he turns around, she tells him, "Don't become a stranger" He goes out the door, leaving his wife with the other four men in the house. The final tableau vivant 96—98 depicts Ruth sitting, " relaxed in her chair ," as if on a throne.

After repeatedly insisting that he is not an old man, and getting no reply from Ruth, who remains silent, Max beseeches her, "Kiss me" — the final words of the play.

Ruth sits and " continues to touch JOEY's head, lightly ," while Lenny still " stands, watching " Such lack of plot resolution and other ambiguities are features of most of Pinter's dramas. In addition to the play being about Teddy's homecoming on a literal level, critics have suggested that, on a metaphoric level, in a variety of ways, the homecoming is Ruth's; that is, that, symbolically, Ruth comes "home" to "herself": she rediscovers her previous identity prior to her marriage to Teddy.

For many critics the missing "back wall" in the "large room" of the house described by Pinter as "removed" 21 and by Teddy as "knocked [ After Teddy comes home and introduces his London family to his wife, Ruth 35—40 , Max invites her to remain with them in London; as Teddy puts it to her euphemistically: "Ruth. Whereas Teddy ultimately decides to return home to his family in America 91—96 , Ruth agrees to "come home" 92 as the family's missing mother figure and possibly also a prostitute whom Lenny can pimp 92—94 , filling in the gap created when their mother died: "I've never had a whore under this roof before.

Ever since your mother died" Upon first seeing Ruth, Max believes that his eldest son, Teddy, has brought a "filthy scrubber" like Jessie into "my house" 57— A major irony of the play is that Max's apparently-mistaken first assumption comes to appear accurate as the family and the audience get to "know" Ruth better 65— The play exposes to Teddy's family that Ruth has been unhappy in her marriage to Teddy.

Though Teddy insists that she is "not well" 85 and simply needs to "rest" 71 , he may not have recognised the cause of her apparent depression. Nevertheless, ultimately, he appears willing to leave her with his family in London, or at least wants to give the others that impression perhaps to save face; or perhaps he really does want to leave her there.

Teddy's "homecoming" appears to become Ruth's. Often considered to be a highly ambiguous , an enigmatic, and for some even a cryptic play, The Homecoming has been the subject of extensive critical debate for over forty years. Surveying Pinter's career on the occasion of the anniversary Broadway production of the play at the Cort Theatre in The New Yorker , the critic John Lahr describes the impact of experiencing it: " 'The Homecoming' changed my life.

Before the play, I thought words were just vessels of meaning; after it, I saw them as weapons of defence. Before, I thought theatre was about the spoken; after, I understood the eloquence of the unspoken. The position of a chair, the length of a pause, the choice of a gesture, I realised, could convey volumes. Like other contemporary critics familiar with The Homecoming , Ben Brantley praises the play's two-act plot structure, referring to its "nigh-perfect form.

It is a culmination of the poetic ambiguities, the minimalism, and the linguistic tropes of his earlier major plays: " The Birthday Party " , whose first production lasted only a week in London, though the play was seen by eleven million people when it was broadcast on TV in , and " The Caretaker " , an immediate international hit. The Homecoming directly challenges the place of morals in family life and puts their social value "under erasure" in Derridean terminology.

Teddy's profession as an academic philosopher, which, he claims, enables him to "maintain. I'm the one who can see. That's why I write my critical works. It's the same as I do. But you're lost in it. You won't get me being. I won't be lost in it. Occasionally, one finds critics of the play, aware of Pinter's reputation for ambiguity, questioning even Teddy's and Ruth's references to the fact of their "being married"; e.

Aside from their behaviour in the play and that of Teddy's father and brothers towards them, nothing else in the text contradicts Teddy's and Ruth's claims that they are married and that they have three sons. The more outrageous Ruth's and his family's actions, the more Teddy protests that they are married, leading some critics to believe that the man doth protest too much , though perhaps they may do so too.

Continuing denial of the facts of Teddy's and Ruth's marriage and family may serve critics as a means of expressing their own rejection of what occurs in the play. Yet, to others, its moral value resides in its very questioning of commonly accepted shibboleths about marriage and the family: "People who were originally put off by 'The Homecoming' may now find it too close to home.

It's a bit like Picasso 's shockingly severe painting of Gertrude Stein from , the one he predicted in time would resemble its subject.

The Home Coming -- Mahathalli -- Tamada Media, time: 11:37
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Re: the home coming

Postby Zulugore В» 17.04.2020

External Sites. Edit Did You Know? Already, Lenny's unresponsiveness to Max's questions, tlc274 well as Max's rambling, snapping manner of speech, indicates that this is far ghe a normal family. Metacritic Reviews. With Teddy, Click, and Joey all looking on, Lenny kisses Ruth and then turns her over to Joey, who asserts that "she's wide open"; "Old Lenny's got a tart in here"

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Re: the home coming

Postby Faegal В» 17.04.2020

He won the MEN Award for best actor for his performance. The click here between the brothers is heightened when Max says that someday Sam will have to move out when he homme no longer pay rent, and the two also disagree about the character of Mac; Sam insists that Mac was uncouth and a loudmouth, prompting Max's animosity. From Wikipedia, the free encyclopedia.

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