Radio provided Samuel Beckett and Harold Pinter with new ways of experimenting with voice, silence, and absence. As they maximised radio’s potential to explore the ephemerality of language and non-linear narratives, the works they created were concerned with the medium itself. On radio, Beckett’s silences and Pinter’s pauses create a heightened sense of uncertainty and ambiguity. Their medium-conscious works also provided them with a platform through which they could experiment with their shared frustration with the inaccuracies of language. The article explores Pinter’s interest in Beckett’s work by drawing on Pinter’s letters to Richard Seaver, Patrick Magee, and Mick Goldstein from the Harold Pinter Archive. It then shows how Pinter’s own work is intermedial in its experimentation with new technologies such as radio. By pointing to examples within Pinter’s Landscape (1968) that speak to moments in Beckett’s Embers (1959), the parallels between these writers in their use of radio are identified. Finally, the article suggests that Pinter’s work is not merely derivative of Beckett’s but demonstrates how the radio drama of both writers is underwritten by an intermedial creative process.

中文翻译：

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“黑暗中的老哈洛”：塞缪尔·贝克特和哈罗德·品特之间的无线电回声

广播为塞缪尔·贝克特和哈罗德·品特提供了尝试声音、沉默和缺席的新方法。当他们最大限度地发挥广播的潜力来探索语言和非线性叙事的短暂性时，他们创作的作品与媒体本身有关。在广播中，贝克特的沉默和品特的停顿营造了一种高度的不确定感和模糊感。他们具有中等意识的作品也为他们提供了一个平台，通过这个平台，他们可以试验他们对语言不准确的共同挫折。这篇文章通过借鉴品特写给哈罗德品特档案馆的理查德·西弗、帕特里克·马吉和米克·戈德斯坦的信，探讨了品特对贝克特作品的兴趣。然后，它展示了品特自己的工作如何在其对无线电等新技术的实验中发挥中间作用。通过指出品特的风景（1968 年）中讲述贝克特的《余烬》（1959 年）中的时刻的例子，确定了这些作家在使用广播方面的相似之处。最后，文章表明品特的作品不仅是贝克特的衍生作品，而且还展示了两位作家的广播剧是如何由中间创作过程承保的。