Stoppards Theatre: Finding Order amid Chaos (Literary Modernism Series)

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    Wilde Discoveries. Joseph Bristow. Dr John Freeman. Adaptation, Intermediality and the British Celebrity Biopic. Filming Literature. Neil Sinyard. Theatre and Ghosts. Cambridge Introductions to Literature. How to write a great review. The review must be at least 50 characters long. While Stoppard is indebted to the art that has gone before him, his artistry is not linked to any one particular school of playwriting, but instead Stoppard embodies the Romantic notion of the artistic genius; his artistic vision has followed a determined course of individualism.

    This idea of the artistic genius who can not be neatly explained by the sociopolitical context of the historical moment may be at odds with contemporary literary theory, yet it seems to me the most accurate way to assess Stoppard's work. That said, each play will be considered in light of the personal, historical moment of Stoppard's life and career. One of the most debated aspects of Stoppard's canon concerns the interpretation of Rosencrantz and Guildenstern Are Dead henceforth Rosguil , Jumpers, and Travesties.

    Some scholars read these plays as exhibiting the relativist values of absurdism, existentialism, and structure for structure's sake. In contrast, more traditional scholars dispute these readings as being blind to the internal evidence that upholds Stoppard's own professed support of "Western liberal democracy, favoring an intellectual elite and a progressive middle class and based on a moral order derived from Christian absolutes" "But for the Middle Classes".

    These scholars argue that beneath the originality of Stoppard's dramatic structures fairly traditional dramaturgy is not only at work but in service of the ideas articulated in the play's dialogue. In contrast, the postmodern and poststructuralist critics elevate form to the level of content and meaning as they valorize form in and of itself, thereby deprivileging the dialogue as they argue that Stoppard's plays accent the unknowability of the world, the elusiveness of true knowledge, the fallibility of human memory, and the relativity of almost all aspects of life.

    My own interpretations draw on both sets of scholars. Plays do not possess one clear meaning, but rather are open to a multitude of responses, albeit some interpretations may be considered more valid than others.