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 (pĭn′tər), Harold 1930-2008.
British playwright, screenwriter, and director whose plays, including The Birthday Party (1958) and The Dumb Waiter (1960), create an atmosphere of menace. He was awarded the Nobel Prize for literature in 2005.

Pin′ter·esque′ (-ĕsk′) adj.


(Biography) Harold. 1930–2008, English dramatist. His plays, such as The Caretaker (1959), The Homecoming (1964), No Man's Land (1974), Moonlight (1993), and Celebration (2000), are noted for their equivocal and halting dialogue: Nobel prize for literature 2005
ˌPinterˈesque adj


(ˈpɪn tər)

Harold, born 1930, English playwright.
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Noun1.Pinter - English dramatist whose plays are characterized by silences and the use of inaction (born in 1930)
References in periodicals archive ?
There was a Pinteresque sense of threat as we appeared to be in the London of the Krays.
The second screenplay, based on a short story by Out Of Africa author Karen Blixen, stars Last Tango In Halifax's Anne Reid and Radio 4 drama commissioner Jeremy Howe said: "It isn't often that you can announce the premiere of a script by the late great Harold Pinter, one of the leading dramatists of the 20th century, and then two come along, both wonderfully Pinteresque and both utterly different.
And the sequence of four playlets presented by the Thespians at the LBT is - to use an adjective that has made it into the OED - thoroughly Pinteresque.
From last week's near-wordless noir farce to the chilling Pinteresque power play of the most recent episode, it continues to wrongfoot, dazzle and astonish.
But this is by far the inferior product, falling short of Pinteresque menace or the relentless comedy of a Clarke.
Also out this week The Devil's Business (18) Pinteresque British supernatural horror as two Irish hitmen find their job spiralling out of control and their target's not what he seems.
DeLillo extracts considerable suspense from his story, while building a Pinteresque sense of dread, there is something suffocating and airless about this entire production.
Orton's air of menace in A Ruffian on the Stair is a skilful use of non-visual drama, a conscious parody of the Pinteresque world of the evil that may lurk in the banal.
Using the merest of Pinteresque pauses, he shifts from professorial modesty to a livid excoriation of American foreign policy, bringing finely controlled rage to bear on his description of (pre-Bush) US sponsorship of carnage in Latin America.
Thus, it explores the endemic culture of miscommunication that pervades the play, the compulsive need for self-silencing by which the characters are driven, and the strategic usages of language to which they resort: the tensions, in other words, between the implicit silences and the Pinteresque 'torrent of language' that masks, and hints at, this other 'language locked beneath it'.
Thus: "Nothing was more distinctive of Eusebius's approach than the Bakhtinian openness that he showed here, his willingness to turn his early books into so odd a conversation among priests of several nations and to accept that their Pinteresque dialogue necessarily ended in uncertainty.