Is there any relation between Harold Pinter and Post-modernism?

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Pinter’s work moves past Modernism by suggesting that, underneath the surface plot and complications (see Ibsen or Chekhov), there is another, unspoken combat going on (what Pinter called “the weasel under the coffee table”) in human contacts.  In The Dumb Waiter the drama is not inherent so much in the characters on stage but rather in the unknown world on the invisible end of the dumbwaiter.  In Birthday Party it can be heard in the one word,  “Succulent”, giving a sinister and sexual undertone to the surface action.  Pinter uses stage language and appears to be present a typical human drama, but unlike the Modernists, is much more interested in staging the unspoken.  In this sense he can be included in Postmodernism, although not as obvious as...

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