And it is besides of import that the room with its objects leads Davies to be ambitious ( he could be the caretaker or merely assist in the redecoration ) but, on the other manus, it causes his ruin, every bit good. Another realistic characteristic is the uninterrupted usage of place-names or other local landmarks, which can maintain the characters in an existent universe which is in the drama the 1950s urban London: Shoreditch, Aldgate, Sidcup, Camden Town, Finsbury Park, etc. In connexion with the puting it is besides relevant that there is no expounding at the beginning of the drama, when Aston and Davies enter the room, alternatively they are introduced in a wholly realistic manner:
ASTON: Sit down.
Davies: Thankss. [ Looking about. ] Uuhaˆ¦
ASTON: Merely a minute.
[ Aston looks around for a chair, sees one prevarication on its side by the involute rug at the hearth, and starts to acquire it out. ]
Davy: Sit down: Huh aˆ¦ I have n’t had a good sit down aˆ¦ I have n’t had a proper sit down aˆ¦ good, I could n’t state you aˆ¦
ASTON: [ puting the chair ] Here you are.[ 5 ]
However, Pinter acknowledged that he was influenced by Samuel Beckett ‘s Waiting for Godot, although, harmonizing to Esslin, Pinter can be regarded ‘realistic ‘ and linked with the new authors who dealt earnestly with the working category ; whereas Samuel Beckett rejected the realistic signifiers since he regarded them as inappropriate to convey their penetration into the human position. However, although Pinter is included in Esslin ‘s book, it can be misdirecting to tie in him with the other dramatists because Pinter ‘s dramas do hold realistic and psychological realistic characteristics, which is non true in the instance of other Absurdists.
Writing a drama in an absurd manner may besides include the commixture of comedy and serious emphasis. Pinter one time said, ‘Everything is amusing, the greatest seriousness is amusing ; even calamity is amusing aˆ¦ Life is amusing because it is arbitrary, based on semblances and self-deceits ‘ .[ 6 ]In The Caretaker the funniest character is possibly Davies ; for case, when he tries on the places and the smoking-jacket he gets from Aston: Davies speaks about the places so articulately that his congratulations about them is about like a gag, because people barely can conceive of that a brace of places can be blessed in such an facile manner. Besides several state of affairss in the drama, Davies ‘s personality and the manner he speaks besides seem to be amusing elements. He has no apprehension of and towards other people and this leads to comic responses when he can non follow precisely what is being said: He is given the suggestion that his turbulency in the dark was due to the unfamiliar bed, and he replies, ‘There ‘s nil unfamiliar about me with beds. I slept in beds ‘ .[ 7 ]The tragic or serious respect in the drama is by and large the characters ‘ agony. Although they all have programs, intents they do non accomplish them, they do non do an attempt in order to finish them. So this simple vain reverie, the palsy and the hopelessness gives the serious emphasis for the drama.
Another feature of the ‘absurd ‘ play is the deficiency of confirmation about the past and hereafter. It is a command technique that in every drama the drape comes down when it is least of all expected, when the given state of affairs is non completed at all. Actually, the characters often refer to the yesteryear or the hereafter, nevertheless, the hereafter that they imagine is instead beyond their appreciation. Their beliefs and visions are influenced by their actions, whereas their actions are frequently determined by their yesteryear. The most interesting point of this dramatic technique is the manner in which Pinter leads his readers – unconsciously – to believe or detect that the characters do non hold hope any more. “ The menacing ambiance of the dramas is a merchandise of the manner in which the witness is left quarry to the commiseration and panic of course associated with an unexpected visit to the dwellers of hell. ”[ 8 ]Altho