ugh the audience is, of class, able to believe like the characters do, or even conceive of a hereafter where all their programs were completed, but in order to make so they would necessitate to bury, or merely neglect everything they have noticed and observed about the characters during the drama. On the contrary, the audience is capable to foretell suitably what these persons will make next when the drape has already come down. In fact, the audience knows the characters better than they know themselves and hence can calculate their hereafter with a greater truth.
Among the major playwrights of the Absurd, Harold Pinter represents the most original combination of daring and traditional elements. He was a lasting ‘visitor ‘ of the theater, every bit adept as an histrion, manager and dramatist. Pinter ‘s work can be summed up with the quotation mark of James Stobaugh, “ The Absurdist abandoned all hope of happening significance in life and embraced a kind of nihilism. The Absurdist was convinced that everything was nonmeaningful and absurd. The subjectiveness of a Romantic was appealing to the Absurdist. However, even that implied that something was surpassing – a desire – and the Absurdist would hold nil to make with that. ”[ 9 ]