In the past, the silences in Harold Pinter's scripts have often suggested more than the words he has written. Now, in two short plays premiered in London by the Royal Shakespeare Company, Pinter has in effect written the silences and let the words fill in suggestively. Such a drastically reductive approach yields spare shards of poetic realism, reminiscent of the prose of Joyce and Beckett. But it also demonstrates a rather arid point: in esthetics it is not always true, as Mies van der Rohe once said, that less is more. Sometimes...
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