MINI men, who are incarcerated in the prison. Mean

MINI DIRECTOR’S NOTEBOOKGreta NilssenHour 5 CULTURAL CONTEXT 1 page with two sources Mountain Languages was Harold Pinter’s play published in The Times (London) on October 20th, 1988. Pinter was born and raised in London, he had a seemingly happy childhood, yet growing up Jewish during World War II. Pinter has faced oppression and sorrow as he grew up which sparked many reasons behind his plays. He found love and comfort in theatre.Pinter stated that Mountain Language is based on the oppression the Kurds have experienced as a minority group in Turkey. The Kurds are a group of people primarily located in a mountainous region in the Middle East, from Turkey through Iran. They have had a long history of conflict with Turkey, heightened at the end of World War I with the Treaty of Versailles, which gave the Turkish government the right to rule over them. (CITE)  In 1937  religious and non-Turkish cultural expression were  outlawed in Turkey, including the word Kurd. Kurdish culture was disappearing, the people were forced to assimilate. The Kurds were officially referred to as “mountain Turks who have forgotten their language.” Harold Pinter said that Mountain Language is based on the long history of oppression the Kurds have suffered as a minority group under Turkish rule. The realistic depiction of the victims and oppressors in a totalitarian state  is clearly present throughout his use of diction and action. Pinter’s play shows a scarily real and quite terrifying situation. In an unnamed country at an unnamed prison, women wait all day in the freezing cold for the chance of seeing their men, who are incarcerated in the prison. Mean guard dogs surround them, who are hungry and abused by the guards, until one attacks and almost bites off an old woman’s hand. The prisoners, held as “enemies of the state,” are beaten and tortured as their women are prevented from offering them any kind of empathy. This narrative could represent an accurate depiction of the horror of any totalitarian state, something Pinter demonstrates by not giving a specific name to the  country, the prison, or any of the officials.KEY IDEAS 2 pagesThere are many themes and stylistic features used in this play to create dramatic and effective ways of conveying messages to the intended audience. Pinter illustrates the play’s major theme, meaninglessness through a very close construction of the play. In the absurd prison world, nothing makes sense. The prisoners, referred to as “shithouses” and “enemies of the state” are being held for unnamed crimes. The narrative suggests that they have been imprisoned because they are “mountain people” who speak an outlawed language. This is discrimination, which is a very serious concept to write about, Pinter did a thorough job exploring this pressing issue through both indirect and direct dialect and character attributions. For example; officials discover that Charley, Sara’s husband, is not a mountain person, they decide he has been put into the “wrong batch” but do not question his guilt.Printer uses the technique and stylistic feature of creating the sense of silence. Used as a form of language, Silence, reflects the characters interactions amongst each other. In one of the acts, the guard tells the elderly woman that her language has become officially “dead,” she cannot understand what he is saying to her and so continues to speak her language as the guard persists in beating her. Pinter uses silence as verbal acts of aggression, defense, and sublimity which in a lot of cases speak louder than any words could. In the first act, Sara shows her defiance and points to the absurdity of the officials’ questions when she refuses to answer the sergeant’s questions about the dog. He purposely put this in to show the mountain people’s resilience and strong stance, they refuse to be pushed around, no matter how hard the system tries to assimilate them.Resistance is also a recurring theme throughout the play. Character Sara, makes attempts to resist the authority of the officials through her questions and her silences. She insists that something should be done to help the elderly woman after the guard dog bites her, and she insists it is her right to see her husband. She meets the officials’ repeated, foolish questions, like;” What is the dog’s name?”,with silence. This demonstrates the refusing to participate in meaningless dialogue. Yet, by the end of the play,Sara has completely and effectively been broken by the totalitarian system. She finally sees her husband but is powerless to prevent his torture through rational means. Because of this, she has sex with the guard in return for saving her husband. She is trading her body and herself so she can prostitute herself for someone she loves. In this way she is suffering but also using the little power she has to resist and fight back. Pinter has a very specific structure of the play to illustrate the sense of isolation and that the characters experience. The acts present separate examples of the women trying desperately to see their men. Act I focuses on the women, who have stood in the snow for eight hours, and their interaction with the sergeant and the officer. The absurd dialogue in which Sara must engage with the two officials reinforces her sense of alienation as does the fact that the scene ends before she can see her husband. This opening scene sets the tone of the play and suggests that the women will not be able to be truly reunited with the men. It also sets up the audience to feel some confusion and curiosity as to why the women are at the prison and who are they trying to see and communicate with. Acts 2 and 3 center on the elderly woman and her son. In act 2, the two try to talk to each other, but their communication is cut off by the guard, who forcefully pokes the old lady with a stick every time she tries to speak to her son in her own native language.  This Scene shows all of the broken communication. This is also found in one of the last scenes, when the elderly woman does not respond to her son, either due to her fear of being beaten or to her son’s shocking physical condition. Pinter’s unique use of language, or lack of it, also reinforces the play’s themes. Most of the dialogue between the guards and the women and prisoners appears to make little sense, reflecting the play’s focus on communication breakdown and the absurdity of their position. Pinter also uses silences throughout the play to illustrate this theme as well as his focus on the power plays that occur in the prison.   PERSONAL INTERPRETATION 1 page EXPLORATION 2 pagesDIRECTIONAL INTENTIONS AND INTENDED IMPACT 2 pages