Statements (55)
| Predicate | Object |
|---|---|
| gptkbp:instanceOf |
play
|
| gptkbp:adaptation |
radio play
film adaptation proposed television adaptation proposed |
| gptkbp:audience |
emotional response
thought-provoking intellectual challenge |
| gptkbp:characterArc |
static
|
| gptkbp:characterDevelopment |
minimalistic
|
| gptkbp:characterTraits |
loyalty
survival fear dialogue-driven |
| gptkbp:conflict |
internal struggle
external conflict |
| gptkbp:criticalReception |
positive
|
| gptkbp:culturalImpact |
performed internationally
studied in drama schools influenced playwrights |
| gptkbp:duration |
one act
|
| gptkbp:genre |
drama
|
| gptkbp:hasPerformance |
1966
|
| gptkbp:historicalContext |
military conflicts
Cold_War_tensions post-war_era |
| https://www.w3.org/2000/01/rdf-schema#label |
The Rear-Guard
|
| gptkbp:influence |
theatre
Pinteresque_style |
| gptkbp:inspiration |
personal experiences
|
| gptkbp:language |
English
sparse cryptic |
| gptkbp:narrativeStyle |
non-linear
fragmented |
| gptkbp:notableEvent |
gptkb:Royal_Court_Theatre
gptkb:National_Theatre |
| gptkbp:notableFeature |
none
the soldier the officer |
| gptkbp:performance |
theatre
|
| gptkbp:performances |
absurdist
|
| gptkbp:premise |
soldiers in a barracks
|
| gptkbp:publishedIn |
1967
|
| gptkbp:setting |
a military barracks
|
| gptkbp:style |
minimalism
|
| gptkbp:symbolism |
conflict
authority military life |
| gptkbp:thematicElement |
existentialism
disillusionment absurdity |
| gptkbp:theme |
war
identity isolation |
| gptkbp:wrote |
gptkb:Harold_Pinter
|