1,[4]Raymond Williams, Drama fiom Ibsen to Brecht (reprinted), Harmondworth: Penguin Books, Ltd,1983, pp.3-4, p.8.
2,[12]John Peter, Vladimir's Carrot: Modem Drama and the Modern Imagination, André Deutsch Limited, 1987, p.316, p.319.
3,[9]Theodore Dalrymple , "Reticence or Insincerity,Rattigan or Pinter", The New Criterion, Vol. 19,No.3 (Nov.2000), p.16, p.12.
4,[11]Harold Pinter, "Introduction: Writing for the Theatre"', Plays: One, London: Eyre Methuen, p. 11,pp. 13 - 14.
5Viktor Shklovsky, "Art as Technique," in Hazard Adams ed., Critical Theory Since Plato, New York:Harcourt Brace Jovanovich, Inc., 1971, p.754.
6Qtd. in Anne - Marie Cusac, "Harold Pinter," in The Progressive, Vol.65, No.3 (March, 2001), p.32.
7Qtd. in Stuart Reid, "Silly Scenes of Pinter," in The American Spectator, Vol.30 (April, 1997), p.52.
8H. G. Widdowson, Teaching Language as Communication, Oxford: Oxford University Press, p.3.
9Roger Copeland, "A Room of His Own," in American Theatre, Vol. 18, No. 8 (October, 2001), p.22.
10Malcolm Bradbury and Christopher Bigsby, "Preface'', in C. W. E. Bigsby ed., Contemporary English Drama, New York: Holmes & Meier Publishes,Inc.,1981 ,p.8.
