with the Theatre of Absurd, Which conveys a sense of isolation ofhuman beings. Pinter's first five plays. The Room，The Birthday Party，The Dumb Waiter, ASlight Ache and The Caretaker belong to this type. All of them share the same characteristicsof mystery, silence, evasion, obscure, menace, and matters deliberately concealed.
The second type Theater of Family centers on a family and the relationship betweenparents and children, husband and wife. In addition, brothers and sisters, lover and friends arealso involved. Although continued the style of Comedy of Menace, the Theatre of Family hasthe tendency towards feminism and realism. The lover (1963) and The Homecoming (1965)are the representatives of this type.
In the Theatre of Memory, the plot and dialogue are composed of the characters'memories; the dramatic conflict is love triangle between genders. Pinter's plays in this period,to some extent, alluded to the author's personal life and emotional confosion in the past. Thetheme, to great degree, reflects the sexual relations. In this period, Pinter concentrates morestudy on the female internal world，by which he tries to convey a transition fromanti-feminism to understanding of female. Silence，(1969)，Old times (1971)，Betrayal (1978)are the classical works.
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Chapter Two Literature Review
2.1. The Researches of Harold Pinter Abroad
Nowadays, The study of Pinter's works have become a hotspot in western world. Manyresearch centers have been set up in universities and colleges and lots of academicconferences have been hold to study Pinter and his plays. In 1980s, Research association ofPinter was set up to issue a regular journal named Pinter Record in America. However, Pinterdidn't obtain deserved attention until he got the Nobel Prize for Literature in 2005. In 1970s，Pinter's plays were misunderstood by critical circle，Yeal Zarht-levo named this period as"the phase of critical consensus" (Yeal Zarht-levo, 2006:213). At the very beginning，hisplays have been regarded strange compared with the current realistic drama and Theater ofAbsurd. When Pinter's The birthday Party was premiered for the first time，what befalls onhim was abundant criticism. W.A.Darlington expressed his disappointment at Pinter's TheBirthday Party, he hold that "Harold Pinter never got down to earth long enough to explainwhat his play was about." (W.A.Darlington, 1958: 14) and Darling insisted that Pinter's playwas just symbols in obscurity, which was beyond his understanding. The negative commentslike this were numerous. Of all the critics, Harold Hobson was the only one who thoughthighly of Pinter and appreciated Pinter's plays very much. Nevertheless, Pinter was regardedas the representative of European Pioneer writers in Britain this time. Martin Esslin，the firstone to list Pinter's plays in the Theatre of Absurd in his book The Theatre of the Absurdpointed out Pinter was "Absurdist rather than realist，，(Esslin，1978: 273). Therefore，Pinter'splays have been compared with other absurdist writer such as Beckett's and Innesco's.Although it has admitted that Pinter was influenced by Beclett a lot, his location betweenrealistic and Theatre of Absurd has been a bone of contention. In addition to this，Essilininitiated psychoanalysistic perspective to study Pinter's plays in the early days. She found theOedipus complex and other mental phenomenon in Pinter's The Birthday Party，TheCaretaker，and The Homecoming, Later, Lucina Gabbard in his The Dream Structure ofPinter i Plays: a Psychoanalytic Approach handles problems of ambiguities and obscuritiesin Pinter's early plays through the mechanisms of dream of psychoanalytic theory thereby indicating that the plays develop around the oedipal wish. (Lucina Gabbard, 1977)Somescholars like William Baker have connected Pi
