Stoppard and film

Nadel, Ira; Kelly, Katherine E.

doi:10.1017/ccol0521641780.007

The Cambridge Companion to Tom Stoppard 2001

DOI: 10.1017/ccol0521641780.007

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Stoppard and film

Ira Nadel¹,

Katherine E. Kelly²

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“…25 In August 1976, he spoke at a London rally organised by CAPA, and along with Harold Pinter, Iris Murdoch and a number of other prominent authors, signed a protest calling for Bukovsky's immediate release. 26 Whilst the success of this event is difficult to quantify, this collection of concerned cultural figures doubtless sought to use their cultural capital to reposition the dissident issue in public consciousness. They were doubtless heartened when Bukovsky was exchanged by the Soviet authorities for the Chilean Communist leader Luis Corvalan in December 1976, and subsequently settled in Britain in the city of Cambridge.…”

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confidence: 99%

“…54 Criticisms did not stop on an artistic level, with the same reviewer accusing Stoppard and Previn of 'being children who do what they are told when the conductor of a military-industrial complex waves his baton' . 55 Whilst such a review is laden with propagandistic rhetoric, the very fact it was written is revealing of the impact that Stoppard and his work were playing in the cold war, willingly or not.…”

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confidence: 99%

See 1 more Smart Citation

‘Slowing down the going-away process’ — Tom Stoppard and Soviet Dissent

Hurst

2016

Contemporary British History

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confidence: 99%

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confidence: 99%

‘Slowing down the going-away process’ — Tom Stoppard and Soviet Dissent

Hurst

2016

Contemporary British History

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Stage as Hyperspace: Theatricality of Stoppard

Chung¹

2005

Modern Drama

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Most of Tom Stoppard’s critics have tried to assess his greatness in terms of his conserving and developing the tradition of British high comedy. Thus, his Arcadia (1993) has been largely acknowledged as the best of high comedy, with “a quality of high Englishness” (Kelly, Introduction 17). In fact, as a major British playwright, he has experimented with dramatic strategies to lure his audience into a series of critical engagements with British politics and culture. As for his politics, critics have argued that he is not a radical but a conservative. This study, however, will argue that he is revolutionary and subversive b y pointing out how he has taken a l ine of f light f rom being a “molar” major writer. It can be argued that Stoppard, a Czech Jew, writes, as Deleuze puts it, “like a foreigner in [his] own language” (Deleuze and Parnet 4), with a political purpose of deterritorializing the dominant Oedipal system, like Kafka, who was admired by Gilles Deleuze and Félix Guattari as a great minor writer (Deleuze and Guattari, Kafka). The Czech-born English playwright has left some clues in his plays as to how they may be read as a form of minor literature whose main characteristic is political (Deleuze and Guattari, Kafka 18). Especially his play Arcadia, which is in the form of a seemingly traditional high comedy, shows how to “minorate” this traditional form of major literature (Deleuze, “One Less Manifesto” 243). Thus, as Deleuze tries to do with Shakespeare, this reading will subject Stoppard, who is considered a major contemporary writer, to “a minor author treatment” in order to rediscover his potential for becoming minor (243). In other words, it will extract his development or process of becoming in antithesis to the major tradition in order to recover the active force of the minority in Stoppard.

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Stoppard and film

Cited by 2 publications

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‘Slowing down the going-away process’ — Tom Stoppard and Soviet Dissent

‘Slowing down the going-away process’ — Tom Stoppard and Soviet Dissent

Stage as Hyperspace: Theatricality of Stoppard

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