OCR: AS Paper 2 Post-1900 drama and prose
Harold Pinter’s 1965 play The Homecoming shares with his other works a tendency to baffle, but stands out in its capacity to offend. Audiences have consistently been shocked by it, and actors have had to work to understand its characters’ complex motivations. Over the years critics have seen it as a Freudian fantasy and a tale of feminist empowerment, yet questions about its gender politics have repeatedly returned. This article will throw light on the different ways the play has been understood by audiences, readers and commentators over the last half century, and ask how comfortable it might feel to give it house room in the present day.
Your organisation does not have access to this article.
Sign up today to give your students the edge they need to achieve their best grades with subject expertise
Subscribe
