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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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Harold Pinter’s The Birthday Party brings up a series of questions. Why did Stanley come to the isolated boarding house? Where did he come from? Who are Goldberg and McCann? Why are they looking for Stanley? Why does Stanley rape Lulu? Rejecting to answer these questions, the playwright makes readers and audiences confront protagonist Stanley’s unpredictable impulses. In a sense, the playwright’s conscious or unconscious failure in satisfying human desire for clarity mirrors the protagonist’s failure in realizing his desire for mother figures. Pinter links his ‘lack of right to know’ to Stanley’s existential condition in which he experiences the loss of phallus. Thus, Stanley is understood as the projection of Pinter’s castrated desire to ‘know,’ which gives the justification for psychological approach to the play. The purpose of this study is three-folded. First, it aims at answering the questions mentioned in the beginning. Second, it aims at exploring the possibility of mutual projection between the two artists’ desires, Pinter and Stanley. Lastly, it aims at discovering the meaning of the former's artistic desire that is projected to the latter’s.
Meg’s house is an appropriate but instant refuge for Stanley to hide himself from both the father’s watch the social censorship that gave him the first and the second experience of castration, respectively. In addition, this place lacks the presence of father, which is expected to provide an optimum condition for Stanley to form a pseudo mirror stage in which he can exercise his phallus over such mother-substitutes as Meg and Lulu. That is to say, Stanley’s arrival at this house reveals his wish to return to and stay at the unborn status without the danger of castration. Goldberg and McCann are the ‘emissaries’ sent from the father or society to give Stanley a birthday party. The birthday signifies not only the anniversary of his birth but also the day of literal birth that kicks him out of the mother’s womb to the society. Through this delivering-a-baby ritual, they attempts to break off Stanley from the unification with Meg and finally fetch him to the society. Having lost Meg, the mother-substitute, Stanley feels the need to find another mother-substitute to compensate for his castrated desire. Lulu’s commercial value as a mother figure and the Stanley’s want of commodity come across at the economic principle of supply and demand. Consequently, the contract between two sides comes out in the form of rape. Stanley’s rape of Lulu is understood as the retaliation against the representatives of the father who has ceaselessly castrated on one side, and against the mother-substitutes who in turn have promiscuously aided the father. It is difficult to say that Stanley’s rape of Lulu is the accomplishment of his sexual desire for mother. He might feel a kind of sexual satisfaction for a moment in the darkness. However, right after the oblivious ecstasy, Stanley is confronted with the disillusion of a stark reality that it was no better than a masturbation. In this meaning, his retaliation against both the father and the mother-substitutes is not successful.
Related with the possibility that Stanley is the projected image of the playwright Pinter, the fact that Stanley was a former artist is very suggestive. Stanley left the society or organization that questioned his creativity. His works are the projection of his original desire for mother that was castrated by the father figure in the mirror stage. After the first castration, this ‘scarlet-lettered’ desire is confronted with the surveillance of father figure representing the moral code of the society. The conflict between social morality and the artist’s desire for creativity cannot meet to any fruitful end. Stanley can continue to produce his works under the watch of the society. However, the result is nothing but the pastiches lacking the creativity, merely the portraits of the castrated desire. As the emissaries from the society say, he cannot create anything just because he cannot make ‘love.’ All that he can do is to reproduce the endless copies of his castrated ego by compromising with the society. At this moment, Stanley faces a dilemma; creativity or productivity. to be or not. If Stanley’s desire for art is the projection of his desire for mother, the play The Birthday Party is the projection of the playwright Pinter’s desire for love dormant at his subconscious. At this point, as a writer, Pinter’s critical mind about the creativity meets with the existential condition that Stanley is confronted with.
Meg’s house is an appropriate but instant refuge for Stanley to hide himself from both the father’s watch the social censorship that gave him the first and the second experience of castration, respectively. In addition, this place lacks the presence of father, which is expected to provide an optimum condition for Stanley to form a pseudo mirror stage in which he can exercise his phallus over such mother-substitutes as Meg and Lulu. That is to say, Stanley’s arrival at this house reveals his wish to return to and stay at the unborn status without the danger of castration. Goldberg and McCann are the ‘emissaries’ sent from the father or society to give Stanley a birthday party. The birthday signifies not only the anniversary of his birth but also the day of literal birth that kicks him out of the mother’s womb to the society. Through this delivering-a-baby ritual, they attempts to break off Stanley from the unification with Meg and finally fetch him to the society. Having lost Meg, the mother-substitute, Stanley feels the need to find another mother-substitute to compensate for his castrated desire. Lulu’s commercial value as a mother figure and the Stanley’s want of commodity come across at the economic principle of supply and demand. Consequently, the contract between two sides comes out in the form of rape. Stanley’s rape of Lulu is understood as the retaliation against the representatives of the father who has ceaselessly castrated on one side, and against the mother-substitutes who in turn have promiscuously aided the father. It is difficult to say that Stanley’s rape of Lulu is the accomplishment of his sexual desire for mother. He might feel a kind of sexual satisfaction for a moment in the darkness. However, right after the oblivious ecstasy, Stanley is confronted with the disillusion of a stark reality that it was no better than a masturbation. In this meaning, his retaliation against both the father and the mother-substitutes is not successful.
Related with the possibility that Stanley is the projected image of the playwright Pinter, the fact that Stanley was a former artist is very suggestive. Stanley left the society or organization that questioned his creativity. His works are the projection of his original desire for mother that was castrated by the father figure in the mirror stage. After the first castration, this ‘scarlet-lettered’ desire is confronted with the surveillance of father figure representing the moral code of the society. The conflict between social morality and the artist’s desire for creativity cannot meet to any fruitful end. Stanley can continue to produce his works under the watch of the society. However, the result is nothing but the pastiches lacking the creativity, merely the portraits of the castrated desire. As the emissaries from the society say, he cannot create anything just because he cannot make ‘love.’ All that he can do is to reproduce the endless copies of his castrated ego by compromising with the society. At this moment, Stanley faces a dilemma; creativity or productivity. to be or not. If Stanley’s desire for art is the projection of his desire for mother, the play The Birthday Party is the projection of the playwright Pinter’s desire for love dormant at his subconscious. At this point, as a writer, Pinter’s critical mind about the creativity meets with the existential condition that Stanley is confronted with.
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