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Man, this play.

I only have three words: what the hell?

This play is truly a mystery to me. It seems to be filled with chaos and confusion.

The plot twists and turns in the most unexpected ways, leaving me completely bewildered.

I can't quite figure out what the playwright was trying to convey.

Maybe it's a commentary on the absurdity of life, or perhaps it's just a random collection of ideas.

Whatever the case may be, it has definitely left an impression on me.

I'll be thinking about this play for a long time to come, trying to make sense of it all.

Overall, it was a strange and unforgettable experience.

Just plain weird tbh.

This simple expression seems to capture a sense of something that is truly strange or unusual. It's a phrase that people might use when they encounter something that defies explanation or doesn't fit into their normal understanding of the world.

Maybe it's a strange phenomenon, an unexpected behavior from someone, or an object that looks completely out of place.

When we say "just plain weird," we're expressing our confusion and perhaps a bit of wonder at the thing or situation that has caught our attention.

It's a way of acknowledging that there are some things in life that are simply beyond our comprehension and that make us scratch our heads in disbelief.

Whether it's a one-time occurrence or a recurring experience, the feeling of something being "just plain weird" can leave a lasting impression on us and make us question the nature of reality.

So the next time you come across something that makes you say "just plain weird," take a moment to embrace the strangeness and see where it leads you.

I just witnessed this remarkable play at The Cort in Manhattan. It is truly beyond my imagination to envision a more outstanding production. The acting was simply superb, with the actors bringing the characters to life in the most vivid and captivating way. The staging was excellent, creating a visually stunning and immersive environment that added to the overall atmosphere of the play. The timing was also impeccable, ensuring that every moment had its intended impact.

What a truly terrific play it was! It has undoubtedly become my favorite of Pinter's works. The way he weaves together the dialogue and the actions to create a sense of mystery and tension is truly masterful. I was on the edge of my seat throughout the entire performance, completely engrossed in the story. This play is a must-see for anyone who appreciates great theater.

This was really awful to read.

It had a tense, extremely malicious and clenched atmosphere throughout the entire performance.

It was really bad, indeed.

The description painted a vivid picture of how unpleasant the experience was.

The words used, such as "awful", "tense", "malicious", and "clenched", all contributed to creating a sense of discomfort and unease.

One could almost feel the negative energy radiating from the text.

It was as if the author was trying to convey the absolute worst of a situation, and they did so quite effectively.

The simplicity of the language added to the impact, making it easy for the reader to understand and feel the intensity of the emotions described.

Overall, it was a powerful and rather disturbing piece of writing.

The heck! This simple exclamation can convey a variety of emotions. It could be a sign of surprise, frustration, or even mild annoyance.

When we say "the heck," we might be expressing our disbelief or confusion about a situation. For example, if someone tells us something that seems completely absurd, we might respond with "the heck?"

It can also be used to add emphasis to a question or statement. For instance, "What the heck is going on here?" or "I don't know the heck what to do."

In some cases, "the heck" can be used in a more lighthearted or joking way. It might be a way to show that we're not taking something too seriously.

Overall, "the heck" is a versatile and commonly used expression that can add color and emphasis to our language. Whether we're using it to express strong emotions or just to have a bit of fun, it's a phrase that has found its way into our everyday conversations.

I didn't have a profound love for this play, yet I have to admit that I derived more enjoyment from it than from “The Birthday Party”. However, that doesn't imply that I necessarily had a better understanding of it. It is a curious blend, part kitchen sink drama, part screwball comedy, delving into the cold and complex power dynamics within a family. Pinter's play is a masterfully layered and barbed piece of work. It is dark, ambiguous, and enigmatic, leaving me still somewhat at a loss as to what to truly make of it. The characters' actions and dialogues seem to hint at deeper meanings and hidden motives, but they remain frustratingly elusive. It is a play that demands multiple viewings and careful analysis to fully appreciate its nuances.

Perhaps with further exploration, I will begin to解开 the mysteries that Pinter has so artfully crafted. But for now, I am left with a sense of intrigue and a desire to understand this perplexing work of art.

A ver, a ver, a ver.

Punto 1. I say that they have really taken the idea of sharing among siblings very literally, don't they? It seems that everything has to be shared without exception. But sometimes, sharing might not be as straightforward as it sounds. There could be conflicts and misunderstandings.

Punto 2. I really don't understand, not even my father. But learning synonyms of "puta"? Just a few of those. It's quite strange and makes me wonder what the purpose is. Is it really necessary to learn such words?

Punto 3. I don't know if I'm a bad thinker, but everything they say sounds extremely sexual. For example, "First of all I gave Lenny a bath, the Teddy a bath, then Joey a bath. What fun we used to have in the bath, eh, boys?" Mmm, that's weird. That's suspicious... (Fart alert?).

Pd: I'm fully convinced that Max loved Mac more than just as a friend. Fight me on that. I have my reasons and I truly believe it.

A harmonious and affectionate play about the love of a man in the world of theater. Like other works of the painter, it was full of misunderstandings and dialogues that were so long that they resembled a monologue, and meaningless dialogues that were additional explanations of people (something that happened among individuals in the modern world).

The most fundamental thing that catches the eye in this play is the mother-lover issue. The woman is like an object in the modern world and the nuclear family. Even the intensity of this objectified woman is visible between the intellectual and academic stratum (which is represented by Tadi and his other colleagues who are supposed to be the customers of the machine-body route) and the proletarian stratum (of which the other characters in the play are representatives). When the woman's absence is discussed regarding her residence, her job to earn her own expenses (greed), and even the establishment of sexual domination over her (even Tadi doesn't say that she herself should make the decision, he just says "I don't think she wants it this way," or he says: "She wants to come back with me, we have three sons!") The physical absence (talking about the body in the absence of the body is possible) completely reveals the symbols of the modern world's salaried father-man. And even after the woman finds presence, she gives her objectified body to the champions of sexual domination in the face of the financial problem (and not pleasure). A woman who herself accepts to be a lover and a sexual worker of the man in exchange for a house, clothes, and food.

Of course, this is not the end of the story. In the end, these fighting men are with each other, and they catch this woman by the hands and feet, and she becomes the motherly superwoman of all of them, even the oldest of them, so that she reproduces another type of domination (motherly).

A domination that does not disappear in the modern society and is only reproduced and recreated with different forms and methods, even in different and contradictory postures and shapes!

‎The Homecoming‬‬, Harold Pinter


The Homecoming is a remarkable two-act play penned in 1964 by the Nobel laureate Harold Pinter and first published in 1965. Set in the vibrant yet somewhat gritty North London, the play presents a complex web of characters. There are six in total. Five of them are men who share family ties. Max, a retired butcher, is at the center. His brother Sam works as a chauffeur. Max's three sons add to the mix. Teddy is an expatriate American philosophy professor. Lenny seems to be involved in the seedy world of pimping. And Joey, a would-be boxer in training, works in demolition. The only woman in the play is Ruth, who is Teddy's wife. The play delves deep into the "homecoming" of Teddy and Ruth, which holds multiple symbolic and thematic implications that keep the audience on the edge of their seats, pondering the true nature of family, relationships, and the meaning of coming home.

The first performance date was April 7th, 2002 AD.

The title of the play is "The Homecoming - A Play". It was written by Harold Pinter and translated by Fatih Mahmudi. It was published in Zanjan by Hazareh Publications in 2002 (1381 AH), with 112 pages. The ISBN is 9649311734 and the third printing was in spring 2011 (1390 AH). The subject matter of the play is about British playwrights in the 20th century.

The play "The Homecoming" is a two-act drama by Harold Pinter, a British writer. It has six characters. Five of the characters are men who are related. Max is a retired butcher. His brother Sam is a chauffeur. Max's three sons are Teddy, an expatriate American philosophy professor; Lenny, who appears to be a pimp; and Joey, a boxer. The sixth character is a woman named Ruth, who is Teddy's wife. The play shows the story of Teddy and Ruth's return home.

The date of broadcast was 11/02/1401 Hijri Shamsi. A. Sharbiani.

I absolutely adored reading this play. It was extremely absurd, and that was precisely what I cherished about it. It constantly kept me on the edge of my seat, to the extent that I never had the slightest inkling of what was going to transpire next. The motives of the characters were rather peculiar. At times, they seemed naturalistic, while at other times, not so much. However, for some reason, it didn't seem to make a difference.

In certain aspects, it can be categorized within the realm of the theatre of the absurd, owing to its unusual motivations and the lack of parallels to our everyday lives. I must assert that I firmly believe it would be truly amazing to go and watch it!

The ending truly took me by surprise. I was in a state of utter shock, and I could scarcely believe how it had come to pass. But analyzing it was an incredibly interesting experience.

I wholeheartedly loved it and would highly recommend it without hesitation! :)

The play "The Homecoming" does not carry any real event, but rather a series of situations and developments that the characters experience and we experience with them, between Teddy's arrival and his family's, and his departure without his wife in the end. The world in which these developments take place - that is, the world of Teddy's English family - is a male world, where the father Max, his brother, and his sons are all men living without women, without a mother, sister, or wife, for a long time. And from here, Ruth's arrival to live with them constitutes a very important event for them. Ruth will soon play the role of a mother and wife in this context... but she will also play the role of a whore for these men, whose "Americanness" will seem very important to them... but at the same time, her femininity will also seem very crucial, an aspect that places her at the mercy of desires and various mixtures of negative and positive emotions. That is, each of the characters - except Teddy - sees in Ruth, the woman, in her different manifestations and roles, and more specifically, the one that has been lacking in this house for a long time, and even the idea of having a relationship with her, without having any sense of wrongdoing towards Teddy. And if Ruth responds - at least theoretically - to the expectations of these men from her, it is only because she also feels - here - that she is in need of a return home. So, in this sense, if the return home means for Teddy, first a return to London, then a return to America, for Ruth, it means a return to herself, and more specifically, to her femininity, perhaps the family-academic life in America has deprived her of it. So, can we start from here to reach a more extensive level of interpretation, and talk about a return home at the level of the relationship between America and England, and specifically at the level of the collective psyche?

This proposal may be logical, but Harold Pinter never encouraged those who interpreted his work in this way or that, emphasizing that the play - if it meant this - would be something completely different, something that could be said, according to his expression that did not contain any positive affirmation in any case, that it was derived from the novels of Henry James. And the truth is that Pinter, except for this objection - which was not deep or strict in any case - did not object to any of the other interpretations, and he preferred "to focus more than anything else on the psychological level of the characters" when talking about Oedipus in the context of adding an analytical character to the men's view of this woman coming from afar, to become the object of their dreams, at the time when it becomes a characteristic of Teddy who, before that, was the only one among them who was free from the Oedipal complex.

In any case, it is clear that all these interpretations only reach "The Homecoming" from the outside, and they vary according to the interpreters themselves. As for the theater audience, it welcomed this work because it gave them a real escape from the struggles in which language played a fundamental, but understood, role. Where, if it is true that the language with its double meaning and form in every moment of the play seems very close to the shared language between Samuel Beckett's (mute) language and Eugène Ionesco's (garbled) language, it did not seem absurd or incomprehensible at any moment, but rather throughout the play, it seemed like a language that attacks from one side - on the lips of the men among themselves, then between them and Teddy - and defends from the other side - especially on the lips of Teddy, in his conversations with his brother, father, and uncle, but also especially in his conversations with Ruth, especially in the last parts where it seems that her direction has become towards staying here, as she felt that this place is her place, her home that she returns to after an absence, that is, to her femininity and her deep self.