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Above all don't use the word good as though it meant something in evolutionary science. Hilary, a young psychology researcher at a brain-science institute, is nursing a private sorrow and a troubling question at work, where psychology and biology meet. If there is nothing but matter, what is consciousness? This is 'the hard problem' which puts Hilary at odds with her colleagues who include her first mentor Spike, her boss Leo and the billionaire founder of the institute, Jerry. Is the day coming when the computer and the fMRI scanner will answer all the questions psychology can ask? Meanwhile Hilary needs a miracle, and she is prepared to pray for one. The Hard Problem by Tom Stoppard premieres at the National Theatre, London, in January 2015.
A NEW YORK TIMES CRITICS' TOP BOOK OF THE YEAR • One of our most brilliant biographers takes on one of our greatest living playwrights, drawing on a wealth of new materials and on many conversations with him. “An extraordinary record of a vital and evolving artistic life, replete with textured illuminations of the plays and their performances, and shaped by the arc of Stoppard’s exhilarating engagement with the world around him, and of his eventual awakening to his own past.” —Harper's Tom Stoppard is a towering and beloved literary figure. Known for his dizzying narrative inventiveness and intense attention to language, he deftly deploys art, science, history, politics, and philosophy in works that span a remarkable spectrum of literary genres: theater, radio, film, TV, journalism, and fiction. His most acclaimed creations—Rosencrantz and Guildenstern are Dead, The Real Thing, Arcadia, The Coast of Utopia, Shakespeare in Love—remain as fresh and moving as when they entranced their first audiences. Born in Czechoslovakia, Stoppard escaped the Nazis with his mother and spent his early years in Singapore and India before arriving in England at age eight. Skipping university, he embarked on a brilliant career, becoming close friends over the years with an astonishing array of writers, actors, directors, musicians, and political figures, from Peter O'Toole, Harold Pinter, and Stephen Spielberg to Mick Jagger and Václav Havel. Having long described himself as a "bounced Czech," Stoppard only learned late in life of his mother's Jewish family and of the relatives he lost to the Holocaust. Lee's absorbing biography seamlessly weaves Stoppard's life and work together into a vivid, insightful, and always riveting portrait of a remarkable man.
Every four or five years Britain's most prominent dramatist pulls out all the stops and writes a major stage play of his own. Between plays, Stoppard the craftsman does translations, screenplays, light entertainments, and work for hire. Delaney's book is the first to focus on the major plays. Spanning Stoppard's career from Rosencrantz and Guildenstern are Dead (1967) to Hapgood (1988), this study shows the figure which Stoppard from the first has been weaving in his theatrical tapestry. That there is development in Stoppard is clear but - as Delaney demonstrates - the development is from moral affirmation to moral application, from the assertion of moral principles to the enactment of moral practice. Such development from precept to praxis demonstrates organic growth rather than radical metamorphosis. Using Stoppard's words in a number of little-known interviews as a starting-point, Delaney shows how the major plays bear out Stoppard's contention that he 'tries to be consistent about morality'. The volume contains the most extensive bibliography and discography of Stoppard interviews (over 200 including print and broadcast sources) ever compiled.
Every Good Boy Deserves Favour & Professional Foul by Tom Stoppard Pdf
Every Good Boy Deserves Favour A dissident is locked up in an asylum. If he accepts that he was ill and has been cured, he will be released. He refuses. Sharing his cell is a real lunatic who believes himself to be surrounded by an orchestra. As the dissident's son begs his father to free himself with a lie, Tom Stoppard's darkly funny and provocative play asks if denying the truth is a price worth paying for liberty. 'Plays which enhance civilization itself, which is what this does, are not seen once and laid away.' Bernard Levin, Sunday Times Every Good Boy premiered at the Festival Hall, London, in July 1977. It was revived at the National Theatre, London, in January 2009. Professional Foul 'Professor Anderson, a somewhat devious academic, went to Prague to deliver a lecture on "Ethical Facts in Ethical Fiction" and to see a football match. Politics intruded when a former pupil of Anderson begged him to smuggle out a thesis arguing that "the ethics of the State can only be the ethics of the individual writ large." . . . Mr Stoppard's BBC television debut was sheer delight.' Richard Last, Daily Telegraph
In a large country house in Derbyshire in April 1809 sits Lady Thomasina Coverly, aged thirteen, and her tutor, Septimus Hodge. Through the window may be seen some of the '500 acres inclusive of lake' where Capability Brown's idealized landscape is about to give way to the 'picturesque' Gothic style: 'everything but vampires', as the garden historian Hannah Jarvis remarks to Bernard Nightingale when they stand in the same room 180 years later. Bernard has arrived to uncover the scandal which is said to have taken place when Lord Byron stayed at Sidley Park. Tom Stoppard's absorbing play takes us back and forth between the centuries and explores the nature of truth and time, the difference between the Classical and the Romantic temperament, and the disruptive influence of sex on our orbits in life - 'the attraction', as Hannah says, 'which Newton left out'.
In Tom Stoppard’s Plays: Patterns of Plenitude and Parsimony Nigel Purse offers a unique appraisal, on a thematic basis, of all Stoppard’s plays by identifying key patterns and uncovering at the heart of Stoppard’s theatrical plenitude the principle of parsimony.
With a thirty-year run of award-winning, critically acclaimed, and commercially successful plays, from Rosencrantz and Guildenstern Are Dead (1967) to The Invention of Love (1997), Tom Stoppard is arguably the preeminent playwright in Britain today. His popularity also extends to the United States, where his plays have won three Tony awards and his screenplay for Shakespeare in Love won the 1998 Academy Award for Best Original Screenplay. John Fleming offers the first book-length assessment of Stoppard's work in nearly a decade. He takes an in-depth look at the three newest plays (Arcadia,Indian Ink, and The Invention of Love) and the recently revised versions of Travesties and Hapgood, as well as at four other major plays (Rosencrantz,Jumpers,Night and Day, and The Real Thing). Drawing on Stoppard's personal papers at the University of Texas Harry Ransom Humanities Research Center (HRHRC), Fleming also examines Stoppard's previously unknown play Galileo, as well as numerous unpublished scripts and variant texts of his published plays. Fleming also mines Stoppard's papers for a fuller, more detailed overview of the evolution of his plays. By considering Stoppard's personal views (from both his correspondence and interviews) and by examining his career from his earliest scripts and productions through his most recent, this book provides all that is essential for understanding and appreciating one of the most complex and distinctive playwrights of our time.
Feuding theatre critics Moon and Birdfoot, the first a fusty philanderer and the second a pompous and vindictive second stringer, are swept into the whodunit they are viewing. In the hilarious spoof of Agatha Christie-like melodramas that follows, the body under the sofa proves to be the missing first string critic. As mists rise about isolated Muldoon Manor, Moon and Birdfoot become dangerously implicated in the lethal activities of an escaped madman.
Dalliance Undiscovered Country Rough Crossing On the Razzle The Seagull This fourth volume of Tom Stoppard's work for the stage brings together five of his most celebrated translations and adaptations of plays by Arthur Schnitzler (Dalliance and Undiscovered Country), Ferenc Molnar (Rough Crossing, a classic farce set aboard an ocean liner), Johann Nestroy (On the Razzle, a mad chase through Vienna), and Anton Chekhov (The Seagull, the classic Russian country tale). According to The Times of London, "Adaptation in Stoppard's terms means finding a sympathetic text and using it as a springboard for invention that leaves the original far behind." In adapting these plays--some classics, some nearly forgotten--for the modern stage, Tom Stoppard has added his own unique elements of dazzling wit and verbal brilliance, hilarious parody and cutting satire, to create works that stand as exceptional works of theater that do not belong to any one age.
Feuding theatre critics Moon and Birdfoot, the first a fusty philanderer and the second a pompous and vindictive second stringer, are swept into the whodunit they are viewing. In the hilarious spoof of Agatha Christie-like melodramas that follows, the body under the sofa proves to be the missing first string critic. As mists rise about isolated Muldoon Manor, Moon and Birdfoot become dangerously implicated in the lethal activities of an escaped madman.-- from publisher's website.
Flora Crewe, a young poet travelling India in 1930, has her portrait painted by a local artist. More than fifty years later, the artist's son visits Flora's sister in London while her would-be biographer is following a cold trail in India. The alternation of place and period in Tom Stoppard's play (based on his radio play In the Native State) makes for a rich and moving exploration of intimate lives set against one of the great shifts of history, the emergence of the Indian sub-continent from the grip of Empire. Indian Ink was first performed at the Yvonne Arnaud Theatre, Guildford, and opened at the Aldwych Theatre, London, in February 1995.
Tom Stoppard's provocative new play spans the recent history of Czechoslovakia between the Prague Spring and the Velvet Revolution - but from the double perspective of Prague, where a rock 'n' roll band came to symbolise resistance to the regime, and the British left, represented by a Communist philosopher at Cambridge. Rock 'n' Roll premieres at The Royal Court Theatre, London, in June 2006 and is part of the 50th anniversary programme.
' Travesties is a superb comedy, a work of thought and imagination.' Stage and Television 'It is a champagne cocktail, compounded of a balletic nimbleness of invention, a bewildering intricacy of design which reaches the sublime heights where mathematics merge with poetry, and the audacious juggling of ideas of a master conjuror.' Sunday Telegraph 'A dazzling pyrotechnical feat that combines Wildean pastiche, political history, artistic debate, spoof reminiscence, and song-and-dance in marvellously judicious proportions. The text itself is a Joycean web of literary allusions; yet it also radiates sheer intellectual joie de vivre, as if Stoppard were delightedly communicating the fruits of his own researches.' Guardian