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The plays in this collection reveal in combination the 'frivolous' and 'serious' aspects of Tom Stoppard's talent: his sense of fun, his sense of theatre, his sense of the absurd, and his gifts for parody and satire. The author rounds off his brief introduction, giving the genesis of each piece, with the comment: 'The role of the theatre is much debated (by almost nobody, of course), but the thing defines itself in practice first and foremost as a recreation. This seems satisfactory'.\n\nLeading off is The Real Inspector Hound, the ultimate country-house whodunnit; Dirty Linen moves a Whitehall farce to Parliament Square; Dogg's Hamlet, Cahoot's Macbeth subverts Shakespeare; and After Magritte explains the inexplicable.

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This second collection of work by Tom Stoppard contains his radio plays, which complement (and sometimes prefigure) his work for the stage. The volume includes In the Native State, which became the stage play Indian Ink.\n\nAlso in this volume are The Dissolution of Dominic Boot, 'M' is for Moon Among Other Things, If You're Glad I'll Be Frank, Albert's Bridge, Where Are They Now?, Artist Descending a Staircase, The Dog It Was That Died and an introduction by the author.\n\nThis new edition contains the previously unpublished radio play, On 'Dover Beach'.

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The new and updated edition of 'Tom Stoppard's extraordinary, epic drama of politics, persecution and protest in twentieth-century Czechoslovakia' (Evening Standard).\n\nRock 'n' Roll spans the years from 1968 to 1990 from the double perspective of Prague, where a rock 'n' roll band comes to symbolise resistance to the Communist regime, and of Cambridge, where the verities of love and death are shaping the lives of three generations in the family of a Marxist philosopher.\n\nRock 'n' Roll premiered at the Royal Court Theatre, London, in June 2006. It was revived at Hampstead Theatre, London, in December 2023. This edition includes an introduction by the author.\n\n'The remarkable thing about the play is that it touches on so many themes, registers its lament at the erosion of freedom in our society and yet leaves you cheered by its wit, buoyancy and belief in the human spirit.' Guardian\n\n'Stunning.' The Times *****\n'Lusty, messy, exuberant.' Daily Telegraph ****\n'No-one writes plays quite like Tom Stoppard.' Time Out ****

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La tragedia di Amleto rivisitata dal punto di vista di due personaggi minori nel testo shakespeariano.\r\n\r\n«\"Rosencrantz e Guildenstern sono morti\" è innanzitutto una commedia. Intendevo creare un testo comico e se il risultato non fosse stato divertente riterrei di aver fallito» – Tom Stoppard\r\n\r\nRosencrantz e Guildenstern sono due personaggi minori dell'«Amleto di Shakespeare». Una fugace apparizione, qualche battuta e via; ma alla fine del dramma l'altisonante annuncio: «Rosencrantz e Guildenstern sono morti». Da qui il titolo di questa tragicommedia, celebrato capolavoro del teatro dell'assurdo. Esso mostra cosa accade dietro la scena ai personaggi. Così i due rappresentano la totale insensatezza, la casualità del tutto, il vuoto: stanno lì, non fanno e non sanno niente, certe volte confondono perfino i propri nomi, si sfidano a testa o croce e si scambiano vaneggiamenti, doppi sensi, insinuazioni, giochi di parole. Come se fossero alla mercé di un impenetrabile mistero. Quelli che li incontrano sembrano sempre prenderli sottilmente in giro a sottolineare la loro inutilità; e se hanno una notizia, un'informazione, non li mettono a parte. Ma più che angoscia suscitano, come vuole l'autore, comicità, divertimento. E questo torna a confermare l'assunto filosofico pessimistico. L'opera è diventata un film, nel 1990, diretto dallo stesso Tom Stoppard, Leone d'Oro a Venezia.

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EAN: 9780571270125
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I do envy you being married to a man with a sense of humour. Henry thinks he has a sense of humour, but what he has is a joke reflex.\n\nThe play begins with Max and Charlotte, a couple whose marriage seems about to rupture. But nothing one sees on a stage is the real thing, and some things are less real than others. Charlotte is an actress who has been appearing in a play about marriage written by her husband Henry. Max, her leading man, is also married to an actress, Annie. Both marriages are at the point of rupture because Henry and Annie have fallen in love. But is it the real thing?\n\nThe Real Thing premiered at the Strand Theatre, London, in 1982, winning the Evening Standard Award for Best Play. It received the Tony Award for Best Play in 1984, and, in 2000, the Tony Award for Best Revival of a Play.\n\n'What is this thing called love? In The Real Thing, we watch Henry find the answer - and we watch Mr. Stoppard do so too. The author of such high-flying neo-Shavian farces as Jumpers and Travesties turns his attention to private passion - and he does so without mortgaging an intellect that has few equals in the contemporary theater. The Real Thing is not only Mr. Stoppard's most moving play, but also the most bracing play that anyone has written about love and marriage in years . . . so densely and entertainingly packed with wit, ideas and feelings that one visit just won't do.' FRANK RICH, NEW YORK TIMES

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EAN: 9780571192717
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It is 1936 and A. E. Housman is being ferried across the Styx, glad to be dead at last. His memories, however, are dramatically if confusedly alive. The river which flows through Tom Stoppard's play connects Hades with the Oxford of Housman's early manhood where High Victorianism in art, literature and morality is being challenged by the Aesthetic movement and an Irish student called Wilde is preparing to burst on to the London scene...\n\nThe Invention of Love premiered at the National Theatre, London, in September 1997.

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Rosencrantz and Guildenstern Are Dead is a play which, as it were, takes place in the wings of Hamlet, and finds both humour and poignancy in the situation of the ill-fated attendant lords. \n\nThe National Theatre production in April 1967 made Tom Stoppard's reputation virtually overnight. Its wit, stagecraft and verbal verve remain as exhilarating as they were then and the play has become a contemporary classic.

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I can't remember which side I'm supposed to be working for, and it is not in fact necessary for me to know.\n\nThe Cold War is approaching its endgame and somebody in spymaster Elizabeth Hapgood's network is leaking secrets. Is her star double agent really a triple? The trap she sets becomes a hall of mirrors in which betrayal is personal and treachery a trick of the light.\n\nTom Stoppard's Hapgood premiered at the Aldwych Theatre, London, in March 1988. It was revived at the Hampstead Theatre, London, in December 2015.

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At the beginning of the twentieth century, Leopoldstadt was the old, crowded Jewish quarter of Vienna. But Hermann Merz, a manufacturer and baptised Jew married to Catholic Gretl, has moved up in the world. Gathered in the Merz apartment in a fashionable part of the city, Hermann's extended family are at the heart of Tom Stoppard's epic yet intimate drama. By the time we have taken leave of them, Austria has passed through the convulsions of war, revolution, impoverishment, annexation by Nazi Germany and - for Austrian Jews - the Holocaust in which 65,000 of them were murdered. It is for the survivors to pass on a story which hasn't ended yet.\n\nTom Stoppard's Leopoldstadt was first performed at Wyndham's Theatre, London, in January 2020.\n\nWINNER: OLIVIER AWARD FOR BEST NEW PLAY, 2020\nWINNER: TONY AWARD FOR BEST PLAY, 2023\n\nWinner of the Drama Desk Award for Outstanding Play; the New York Drama Critics Circle Award for Best Foreign Play; the Drama League Award for Outstanding Production; and the Outer Critics' Circle Award for Outstanding New Broadway Play.\n\n'One of Britain's greatest living playwrights to provide his most personal play yet.' The Times\n\n'The news that Tom Stoppard has written a new drama ranks as top-end seismic activity.' Daily Telegraph

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Above all don't use the word good as though it meant something in evolutionary science.\n\nHilary, 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?\n\nThis 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.\n\nIs 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.\n\nThe Hard Problem by Tom Stoppard premiered at the National Theatre, London, in January 2015.

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Gli anni fervidi e appassionati del rivoluzionario Bakunin, del filosofo Herzen, del critico Belinskij, del romanziere Turgenev. Il quartetto dell'intellighenzia della remota Russia dispotica venuto a infervorare l'Ottocento europeo, con la foga delle idee e i dibattiti accaniti. Il drammaturgo Tom Stoppard li mette in scena penetrando attraverso le pieghe umane nella nebulosa delle nascenti idee che avrebbero toccato i nervi di due secoli. L'intellighenzia russa fu un'energia trascinante: così, intorno alla cerchia dei quattro amici, prende voce e azione la costellazione umana delle barricate liberali, radicali, socialiste. In più o meno tutti, i cospiratori compaiono sul palcoscenico di casa Bakunin o di casa Herzen: c'è Marx, Mazzini, Louis Blanc, Ledru-Rollin, Kossuth, Arnold Ruge, Cemysevskij, più la folla degli eroi d'un momento, intellettuali anonimi, comparse. È la sponda dell'utopia; sull'altra sponda giganteggia la personalità di Aleksandr Herzen: e forse la trilogia di Stoppard può vedersi come la storia umana della presa di coscienza di questo ardito anticipatore dell'antitotalitarismo. \"La sponda dell'utopia\" si articola in tre tempi: \"Viaggio\", dal 1833 al 1844, nella tenuta russa dei Bakunin (quando Michail e gli amici Belinskij, Herzen e Turgenev sono intorno ai vent'anni); \"Naufragio\", nell'esilio tra il 1846 e il 1852, a Parigi (del 1848), Dresda, Nizza; \"Salvataggio\", nell'emigrazione dal 1853 al 1868, a Londra e Ginevra.

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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.\n\nThe 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.\n\nIndian Ink was first performed at the Yvonne Arnaud Theatre, Guildford, and opened at the Aldwych Theatre, London, in February 1995.

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Celebrating its 50th anniversary in 2017, Tom Stoppard's witty and exhilarating play is repackaged as a stylish Faber Modern Classic.\n\nTom Stoppard's reputation as a playwright was made when his dazzling debut, Rosencrantz and Guildenstern Are Dead, opened at the National Theatre. \n\nFifty years later, the play's wit, stagecraft and verbal verve remain as exhilarating as they were in 1967 as the two ill-fated attendant lords from Shakespeare's Hamlet take centre stage, musing on the purpose of existence and its end. \n\nThis new edition was published to coincide with a 50th anniversary production at the Old Vic Theatre, London, and contains a new preface by the author.

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The Coast of Utopia is an epic but also intimate drama of romantics and revolutionaries in an age of emperors. The three sequential, self-contained plays, Voyage, Shipwreck and Salvage, span the lives and loves of a group of Russian friends at home and abroad in the tumultuous years between 1833 and 1866. This new fully revised edition of the trilogy contains an introduction by the author.

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Alfred Edward Housman (1859-1936), latinista, filologo e raffinato poeta arriva nell’Ade. Caronte deve traghettarlo ma nel corso della navigazione lo Stige si incrocia con il Tamigi della giovinezza del professore. In una Oxford di fine Ottocento si susseguono gli incontri con amici, colleghi e insegnanti mentre riecheggiano le voci dei poeti che hanno inventato la poesia d’amore: da Ruskin a Jerome K. Jerome a Oscar Wilde.\r\n«La drammaturgia di Stoppard è spesso e volentieri anamorfica, nel senso che fa assumere punti di vista inconsueti, propone immagini e prospettive diverse, applicate spesso a personaggi famosi ma retrocessi a comprimari di altri secondari. In The Invention of Love il protagonista è di quelli che occupano poche righe nelle enciclopedie, cultore della filologia come mezzo per arrivare alla bellezza assoluta, cui affidarsi non solo per l’arte ma anche per la vita. Housman piange sulla sua vita di lacrime non versate, sull’amore non consumato» - Dall'introduzione di Rita CirioTom Stoppard, grande scrittore di teatro (è sua la commedia tragica Rosencrantz e Guildenstern sono morti, da cui il film Leone d’Oro ’90 a Venezia) e sceneggiatore di film di elevata qualità nell’equilibrio di scene e dialoghi (il famoso Shakespeare in Love, Premio Oscar 1999), esprime in due modi il suo pessimismo (o forse nichilismo) alla Beckett, levigato da un supremo scetticismo. L’umorismo continuo è il primo modo, fatto di doppi sensi comici, allusioni, paradossi, intese con il pubblico, giochi linguistici, sommato a un rimescolamento di generi diversi e colte citazioni spesso occulte. L’altro consiste nel prendere un personaggio, o minore o di striscio, rispetto a protagonisti ben più rinomati, e fargli recitare atti e dialoghi del tutto ordinari, fargli scorrere momenti esistenziali banalmente inconsapevoli, mentre tutti tranne lui solo sanno che una tragedia deve succedere, che questa quindi risulta casuale, superflua e senza senso. Queste due caratteristiche contribuiscono a rendere estremamente piacevoli i suoi testi teatrali, anche fuori dal palcoscenico, da leggere quasi fossero dei romanzi, dei racconti lunghi.\r\nIn due atti, L’invenzione dell’amore chiama a recitare la sua parte un signore oscuro, A. E. Housman (1859-1936) latinista molto bravo e poeta di buon valore e profonda tristezza. Impersona se stesso in due figure diverse: dopo morto sullo Stige con Caronte, e giovane studente a Oxford con i suoi amici sul fiume Tamigi. È un omosessuale, innamorato non ricambiato dell’amico Moses Jackson. Lo circondano numerose persone, tutte realmente esistite, tranne, non per caso, un solo individuo. Accanto a studenti, giornalisti, docenti, parlamentari che impersonano l’età d’oro vittoriana di Oxford, ci sono i più noti Pater, Ruskin, Jerome K. Jerome e soprattutto Oscar Wilde. Questi è di Housman, si può dire, il contrappunto: come Wilde affermava provocatoriamente il suo amore, vivendo la vita come forma d’arte, l’appartato Housman vive il...

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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.\n\nBernard has arrived to uncover the scandal which is said to have taken place when Lord Byron stayed at Sidley Park.\n\nTom 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'.

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Following his success with Rosencrantz and Guildenstern Are Dead, the author continues his association with Hamlet by taking the most well-known and best-loved lines from Shakespeare's play and condensing them into a hilarious version of the play lasting approximately thirteen minutes. The miraculous feat is followed by an encore which consists of a two-minute version of the play! The vast multitude of characters is played by six actors with hectic doubling, and the action takes place at a shortened version of Elsinore Castle.

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'Tom Stoppard's Travesties is witty, playful and wise. Forty years on, it is starting to look timeless as well.' Sunday Times\n\n'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 a master conjuror.' Sunday Telegraph \n\n'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\n\nTravesties was first performed by the Royal Shakespeare Company at the Aldwych Theatre, London, in June 1974. This edition includes a new preface by the author, and revisions made by him for a revival at the Menier Chocolate Factory, London, in October 2016.?

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In 1972 an elderly avant garde artist is murdered, leaving his two friends suspecting each other. To reveal why, successive scenes flashback toward the 1920s and then progress back to 1972. Each of the three was infatuated with Sophie. Before she tragically went blind she fell in love with one of them after viewing his picture in a gallery.1 woman, 6 men

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Shot through with Stoppard's voice, and illuminating all his plays, Lee's gripping narrative draws on unprecedented access to archive material, interviews and long conversations with Stoppard himself. She traces the dramatic story of his family's flight from Nazi-occupied Czechoslovakia, his sudden leap to fame, his personal life and his dazzling successes. A riveting account of a very public and very private man.

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