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This paper examines how power sturuggles are practised and provoked in Harold Pinter’s The Homecoming, regarded as a power game. According to Foucault’s theory, “power is everywhere not because it embraces everything, but because it comes from everywhere” (The Will 93). Increasingly the play is filled with unstable and tense atmosphere by conflicts between Teddy’s family who considers women as formulaic images like a motherwifeprostitute and his wife Ruth exposing her sex or heterogeneity without compunction. In addition, men pursue language tactics to sustain their own dominant position, trying to represent her existence as a word (Mex and Lenny), exerting intelligence unreasonably (Teddy). This is, however, not just a struggle for the will to rule others, but metonymy of relations of power to affect or to be affected each other. This article analyses Pinter’s characters as an individual based on ‘power-relations’ rather than subjects locked in the structure of psychoanalytic theory. In conclusion, this study attempts to revive virtual resistance as well as the political implication in this play.
