got it thanks On Mon, May 4, 2009 at 2:22 PM, William Robinson < wrobin3@xxxxxxxxxxxxxxxxxxx> wrote: > Hey Tom, here's my slide. > > > On Sun, May 3, 2009 at 5:31 PM, Christopher Jones < > cjones20@xxxxxxxxxxxxxxxxxxx> wrote: > >> i am in the same boat. >> >> i just had a super busy and shitty weekend that i just need to move past >> at this point. >> >> what time are we meeting again? >> >> i am getting off work now, and need to go home and change and stuff. >> if it's at 6, im going to be a bit late. i apologize >> >> >> On Sun, May 3, 2009 at 3:37 PM, R NOEMER <kevinnoemer@xxxxxxxxxxx> wrote: >> >>> Okay, I might not have my slides at the meeting. I have all of my >>> information, minus a few exact references from the script that I have to >>> write out, but I have a very solid amount of information typed up in a Word >>> document to look at when I put my slides together. But if I don't get my >>> slides done before the meeting, I can easily finish them afterwards when I >>> get home and then email them to Tom. I figure so long as we figure out the >>> order and everything, putting my slides in afterwards is as easy as copy and >>> pasting. I'll try to get them done, but yeah, this weekend hasn't gone >>> exactly as I had planned it. >>> >>> Kevin >>> >>> ------------------------------ >>> Date: Fri, 1 May 2009 20:30:56 -0400 >>> Subject: [arcadia_group] Re: The game plan- READ >>> From: tbarro1@xxxxxxxxxxxxxxxxxxx >>> >>> To: arcadia_group@xxxxxxxxxxxxx >>> >>> hey guys i was thinking bring your slides on a thumbdrive or email it to >>> yourself and when we get together on sunday we can put them together with >>> all of us there. T >>> >>> On Fri, May 1, 2009 at 5:03 PM, R NOEMER <kevinnoemer@xxxxxxxxxxx>wrote: >>> >>> Hey, sorry guys. I didn't get around to checking my email in the last two >>> days. I was lucky enough to get mono from God knows where. Hooray! Anyways, >>> I should have my slides done by Sunday. I've got a couple more articles to >>> read through, but this is more or less the only work I have, so I'm not >>> really too stressed about it. Also, Dan you seem to know a good deal about >>> the math in the play, so if you have any thoughts you'd like to share with >>> me, that'd be awesome. While I find all the iterations and naturalistic >>> geometry interesting, math certainly is not my forte. I'll let you guys take >>> a look at what I've come up with before we present in case anyone with a >>> better grasp on the concepts has some thoughts. >>> >>> Kevin >>> >>> ------------------------------ >>> Date: Thu, 30 Apr 2009 18:48:34 -0400 >>> Subject: [arcadia_group] Re: The game plan- READ >>> From: dsince1@xxxxxxxxxxxxxxxxxxx >>> To: arcadia_group@xxxxxxxxxxxxx >>> >>> All; >>> >>> Dan here. Tom and Will - I am attaching a few documents I found most are >>> either interviews or biographical content, and I am also including the Stage >>> as Hyperspace paper and another dealing with the music titled Waltzing in >>> Arcadia. >>> >>> Also, I have a little more work to do on my presentation slides, but will >>> get those out soon. >>> >>> Thanks for meeting today, guys, I think things are going to be fine. >>> >>> Dan >>> >>> >>> --Forwarded Message Attachment-- >>> >>> Back >>> 1 article(s) will be saved. >>> To continue, in Internet Explorer, select *FILE* then *SAVE AS* from >>> your browser's toolbar above. Be sure to save as a plain text file >>> (.txt) or a 'Web Page, HTML only' file (.html). In Netscape, select * >>> FILE* then *SAVE AS* from your browser's toolbar above. >>> >>> >>> >>> EBSCO Publishing Citation Format: MLA (Modern Language Assoc.): >>> >>> *NOTE:* Review the instructions at >>> http://support.ebsco.com/help/?int=ehost&lang=en&feature_id=MLA >>> and make any necessary corrections before using. Pay special attention to >>> personal names, capitalization, and dates. Always consult your library >>> resources for the exact formatting and punctuation guidelines. >>> >>> ------------------------------ >>> Works Cited >>> >>> Zoglin, Richard. "Elitist, Moi?." *Time* 170.19 (05 Nov. 2007): 69-71. >>> *International >>> Bibliography of Theatre & Dance with Full Text*. EBSCO. [Library name], >>> [City], [State abbreviation]. 26 Apr. 2009 < >>> http://search.ebscohost.com.proxy-tu.researchport.umd.edu/login.aspx?direct=true&db=ibh&AN=27257715&site=ehost-live >>> >. >>> <!--Additional Information: >>> Persistent link to this record (Permalink): >>> http://search.ebscohost.com.proxy-tu.researchport.umd.edu/login.aspx?direct=true&db=ibh&AN=27257715&site=ehost-live >>> End of citation--> >>> ------------------------------ >>> Section: Art THEATER >>> >>> *Elitist, Moi? * >>> Tom Stoppard isn't trying to be highbrow. To prove it, his new play is >>> about rock music … and revolution >>> When his interviewer arrives, Tom Stoppard is standing outside the >>> Broadway theater where his latest play, Rock 'n' Roll, is about to begin >>> previews. Sporting an open white shirt with the sleeves partly rolled up and >>> tousled (if graying) hair that still gives him the look of an overage >>> college student, he's enjoying a cigarette in a circle of warm spring >>> sunshine that has managed to find a hole in the Manhattan skyline. But he >>> really should be off his feet. A few days earlier, in the rush to catch a >>> plane to New York City, Stoppard stubbed his toe hard in his London >>> apartment. He has just come back from the doctor, who told him the toe is >>> broken and ordered him to stay off it as much as possible--after which, >>> Stoppard walked 13 blocks to the theater. >>> The spectacle of Tom Stoppard hoofing it through the theater district on >>> a bum foot would be disconcerting to people who think of the playwright as >>> something of an élitist. Ever since his sensational stage debut in 1967 with >>> Rosencrantz and Guildenstern Are Dead--his absurdist riff on a pair of minor >>> characters in Hamlet--Stoppard has become almost a genre unto himself, >>> taking intellectual, often abstruse subject matter and turning it into >>> challenging yet playful drama. His game, frequently, is the oddball >>> juxtaposition: moral philosophy and gymnastics (Jumpers); Fermat's last >>> theorem and Byron's love poetry (Arcadia); James Joyce and Vladimir Lenin >>> (Travesties). "Tom said to me once that he decides on one play, and then >>> shortly after decides on a different one," says Trevor Nunn, director of >>> Rock 'n' Roll and several other Stoppard plays. "And then he lets them crash >>> into each other." The Coast of Utopia, his nearly nine-hour trilogy about >>> Russia's radical political thinkers of the 19th century, was a relatively >>> straight-ahead historical journey (which is why this critic, at least, >>> didn't rank it among his best), but it was an unexpectedly huge hit, playing >>> to sold-out crowds during its run at New York City's Lincoln Center last >>> season and winning seven Tony Awards, a record for a straight play. And that >>> gives him the right to hobble into any Broadway theater with a play on just >>> about any subject he wants. >>> With Rock 'n' Roll, which took London by storm last year and opens on >>> Broadway Nov. 4, Stoppard is exploring two more of his passions, one old and >>> one relatively new. The play spans a couple of decades in the lives of a >>> group of Czech political activists and British academics and shuttles back >>> and forth between Cambridge and Prague in the years between the 1968 Soviet >>> invasion and the "velvet revolution" of 1989. It's an exploration of >>> political repression and commitment (with a typically Stoppardian digression >>> into Sappho's poetry), but also a celebration of the rebel rock music that, >>> in Stoppard's view, was as potent a force for revolution as Vaclav Havel's >>> speeches. Scenes are punctuated with the sounds of groups like the Rolling >>> Stones and the Plastic People of the Universe, a Czech band imprisoned >>> during the Soviet crackdown--with a special nod to Syd Barrett, a founding >>> member of Pink Floyd, who was ousted by his band over his erratic, >>> drug-fueled, near psychotic behavior. >>> Rock 'n' Roll is the first stage work Stoppard has written explicitly >>> about Czechoslovakia, where he was born in 1937 but which he left as a baby >>> when his parents fled the Nazis, moving to Singapore and then India before >>> landing in Bristol, England. >>> Until the fall of communism, he returned only once to the country, in >>> 1977. "I began to have more identity as a Czech comparatively recently," he >>> says. "To tell you the truth, I think it was my mother dying about 10 years >>> ago that gave me permission to be Czech. Because my mother's whole attitude >>> was to leave the past behind. So I tended to kind of just respect her >>> attitude." A pause. "That's not the whole truth. The fact is, I loved being >>> English. I was very happy to be turned into an English schoolboy." >>> Those schoolboy days ended at age 17, when Stoppard went to work for a >>> newspaper in Bristol. He covered the police beat and routine local news, but >>> he also got to interview visiting celebrities--New Orleans jazz musicians, >>> British movie-glamour queen Diana Dors. "I was so thrilled being a >>> reporter," he says, "because it gave you the kind of access to people that >>> you wouldn't ever get to meet." After a few years, he moved to London, where >>> he continued to write reviews and celebrity profiles. In 1960 he talked his >>> way into a trip to New York with a group of architects visiting the city's >>> buildings and did a story for the Yorkshire Post on Lenny Bruce, whom he saw >>> at the Village Vanguard and corralled outside for a 10-minute interview. >>> Stoppard was taken by the irreverent comic (he even recalls some of his >>> jokes, like Bruce's plea for world peace, urging all the nations of the >>> world to get together and "kick the s___ out of the Polacks"). "His act was >>> very scatological by English standards," he says. "But I was amazed by him." >>> Stoppard's passion for rock music dates from his days in Bristol, where >>> he would see most of the touring music acts that came to town--among them >>> Frank Sinatra (who played the Bristol Hippodrome in the early '50s and >>> didn't sell out), the Everly Brothers and Eddie Cochran, the rockabilly >>> singer whose British tour ended when he was killed in a car crash in 1960. >>> Like everyone else, Stoppard embraced the Beatles and Rolling Stones when >>> they came along, but he admits to being a late bloomer when it came to Pink >>> Floyd. "I ignored them completely at first," he says. "When Dark Side of the >>> Moon came out, a friend of mine, a photographer, came over with the record >>> and said, 'Please, listen to this. There's a play in this album.' I put it >>> on top of this big wooden filing cabinet, and it stayed there for a year." >>> The twice-divorced Stoppard, who turned 70 this year, is a grandfather >>> now, but he keeps up with groups like Arcade Fire and the Arctic Monkeys. "I >>> listen to what shows up, really out of curiosity more than anything else," >>> he says. "It's not often that something really gets to me." He goes to >>> concerts only rarely--for the Stones when they tour and an occasional >>> experiment like Oasis (a "brilliant songwriting band"). "I'm a very boring >>> person," he insists. He doesn't go to movies, he says (though he writes >>> plenty of them; see box), and spends most of his spare time reading--most >>> recently Janet Malcolm's biography of Gertrude Stein and Alice B. Toklas. >>> His chief recreational passion is trout fishing, which he does four or five >>> times a year, usually in Hampshire, England, but with periodic ventures to >>> more exotic climes like New Mexico and Wyoming. >>> Stoppard, who rolls his r's with a Continental flourish that somehow >>> manages not to seem affected, bristles at the notion that his work is too >>> highbrow or élitist for an ordinary audience--never mind that the New York >>> Times felt the need to print a reading list for theatergoers who wanted to >>> bone up before seeing The Coast of Utopia. He notes that his intellectual >>> obsessions are hardly unique or rarefied. "The market for books about >>> science and philosophy on the level on which I deal with things is a >>> best-seller market," he says, pointing to authors like Steven Pinker, >>> Richard Dawkins and Richard Feynman. It tickles him when he gets good >>> reviews for his scientific accuracy in specialist publications. Yet he >>> insists his goal is not to lift the audience's brow but simply to explore >>> fresh subjects that engage him. "I've got no interest in educating or >>> instructing people. It's entirely about my getting interested in something >>> because of its dramatic possibilities. I'm not there to do Op-Ed on >>> Broadway." >>> Indeed, Stoppard has always stood apart from many other British >>> playwrights of his generation, like David Hare, for avoiding an overtly >>> political (usually left-wing) point of view. He describes his politics as >>> "timid libertarian." Yet he can rev up a pretty bold rant on Britain's >>> "highly regulated society," which he thinks is "betraying the principle of >>> parliamentary democracy." There was the garden party he threw recently, for >>> example, where because there was a pond on the property, he was required to >>> hire two lifeguards. "The whole notion that we're all responsible for >>> ourselves and we don't actually have to have nannies busybodying all around >>> us, that's all going now. And I don't even know in whose interest it's >>> supposed to be or who wishes it to be so. It seems to be like a lava flow, >>> which nobody ordered up. Of course, one does know in whose interest it is. >>> It's in the interests of battalions of civil servants in jobs that never >>> existed 10 years ago." >>> Don't call Tom Stoppard a snob. But try finding a political rant in >>> America as polished as that. >>> PHOTO (COLOR): Radical band Brian Cox and Nicole Ansari in Rock 'n' Roll >>> PHOTO (COLOR) >>> ~~~~~~~~ >>> By Richard Zoglin >>> >>> Script Doctor How Hollywood has used (or not used) Stoppard >>> Film writing is "exciting and agreeable in the first half of the >>> process," says Stoppard. "And then you get reminded that it's a movie and >>> it's not yours." >>> Screenplays He Wrote SHAKESPEARE IN LOVE "The playhouse is for >>> dreamers," says the Bard (Joseph Fiennes) to Viola (Gwyneth Paltrow) in >>> Stoppard and Marc Norman's Oscar winner >>> BRAZIL Stoppard added jokes to Terry Gilliam and Charles McKeown's >>> futuristic sci-fi script, which earned an Oscar nomination and cult status >>> EMPIRE OF THE SUN Stoppard and Menno Meyjes streamlined J.G. Ballard's >>> novel for Steven Spielberg and a 12-year-old Christian Bale >>> Screenplays He Helped Rewrite SLEEPY HOLLOW Director Tim Burton tapped >>> Stoppard to add humor to the more somber early draft of the Washington >>> Irving story >>> STAR WARS: EPISODE III--REVENGE OF THE SITH Stoppard played Jedi master >>> with the dialogue on George Lucas' last Star Wars film; he did not, however, >>> tamper with Yoda's syntax >>> Drafts He Wrote THE BOURNE ULTIMATUM Director Paul Greengrass didn't end >>> up using Stoppard's take on Matt Damon's taciturn spy >>> HIS DARK MATERIALS: THE GOLDEN COMPASS His crack at the first film >>> adaptation of Philip Pullman's fantasy novel was rejected in favor of a >>> draft by director Chris Weitz >>> PHOTO (COLOR) >>> PHOTO (COLOR) >>> ------------------------------ >>> Copyright © Time Inc., 2007. All rights reserved. No part of this >>> material may be duplicated or redisseminated without permission. >>> >>> >>> Back >>> >>> >>> --Forwarded Message Attachment-- >>> >>> Back >>> 1 article(s) will be saved. >>> To continue, in Internet Explorer, select *FILE* then *SAVE AS* from >>> your browser's toolbar above. Be sure to save as a plain text file >>> (.txt) or a 'Web Page, HTML only' file (.html). In Netscape, select * >>> FILE* then *SAVE AS* from your browser's toolbar above. >>> >>> >>> >>> EBSCO Publishing Citation Format: MLA (Modern Language Assoc.): >>> >>> *NOTE:* Review the instructions at >>> http://support.ebsco.com/help/?int=ehost&lang=en&feature_id=MLA >>> and make any necessary corrections before using. Pay special attention to >>> personal names, capitalization, and dates. Always consult your library >>> resources for the exact formatting and punctuation guidelines. >>> >>> ------------------------------ >>> Works Cited >>> >>> Gussow, Mel. "Happiness, chaos and Tom Stoppard." *American Theatre*12.10 >>> (Dec. 1995): 22. >>> *International Bibliography of Theatre & Dance with Full Text*. EBSCO. >>> [Library name], [City], [State abbreviation]. 26 Apr. 2009 < >>> http://search.ebscohost.com.proxy-tu.researchport.umd.edu/login.aspx?direct=true&db=ibh&AN=9512142530&site=ehost-live >>> >. >>> <!--Additional Information: >>> Persistent link to this record (Permalink): >>> http://search.ebscohost.com.proxy-tu.researchport.umd.edu/login.aspx?direct=true&db=ibh&AN=9512142530&site=ehost-live >>> End of citation--> >>> ------------------------------ >>> >>> *HAPPINESS, CHAOS AND TOM STOPPARD * >>> In Tom Stoppard's radio play, Where Are They Now?, the author's surrogate >>> looks back nostalgically on his school days, and defines happiness as "a >>> passing change of emphasis." A dozen years later, the protagonist of The >>> Real Thing reiterates the statement with his observation, "Happiness is >>> equilibrium. Shift your weight." For Stoppard, equilibrium had become a >>> credo, as he repositioned himself to suit the shifts in the world. Call it a >>> Stop-pardian sense of gravity. The playwright provides his own ballast, as >>> he tries to remain in the moral center of his own universe. If one needs a >>> symbol of Stoppard's own inner balance, consider the pronunciation of his >>> name. It is STOP-PARD, with the syllables evenly accented. >>> His life and his work are crowded with apparent contradictions. Although >>> he was born in Zlin, Czechoslovakia (as Tomas Straussler) and spent his >>> early years in Singapore and India, he has become one of the most English of >>> Englishmen. He currently lives in both Chelsea, London and Iver, Bucks, >>> where he is a country squire with an English garden, a lawn for cricket, a >>> tennis court and his neighbor's cows peeping through the windows of his >>> house. His idea of Arcadia, of an idyllic environment, is the English >>> countryside. Yet he spends most of his time in cities, is frequently flying >>> from one to another, and has a very cosmopolitan nature >>> Stoppard is one of the wittiest and most literate writers of the English >>> language, but he left school at an early age and found his education working >>> on a provincial English newspaper. (Coincidentally, none of England's >>> pre-eminent living playwrights--Harold Pinter, Alan Ayckbourn and Stoppard >>> went to university.) Although he has a gift for inventing epigrams, >>> metaphors and circumlocutions, in his own reading he has great admiration >>> for the understatement of Ernest Hemingway. Stoppard has no background in >>> philosophy, philology, physics, metaphysics, mathematics or circus >>> acrobatics, but his plays are filled with knowledgeable references to these >>> and other specialized fields. In contrast to Pinter and Ayckbourn, he is >>> untutored in the techniques of theatre, except for what he learned during >>> his years as a drama critic and from working with and watching his >>> directors. Yet his plays have a brilliant theatricality. He is, in fact, an >>> exemplary autodidact, and a very quick study. >>> In the plays, things are never quite what they seem to be. There are >>> plays within plays, and in The Real Thing, a play outside the one we are >>> watching. The image is that of an endless series of Chinese boxes or an >>> exercise in recursion. Time plays tricks, as past and present coexist and >>> sometimes brush against each other on the same stage. In many of his plays, >>> there are echoes of his previous writings. The subject matter may shift from >>> moral philosophy to quantum physics, but the voice is that of the author >>> caught in the act of badinage, arguing himself in and out of a quandary. >>> Most of his plays are inspired by a single central image (philosophy as >>> gymnastics, a madman who thinks he has a symphony orchestra in his head). >>> But, as the plays evolve, they become prisms, reflecting and refracting the >>> author's ingenuity. Is Stoppard too clever by half, an intellectual rather >>> than an emotional playwright? He confronts this and related questions during >>> our conversations. >>> When I talked to Stoppard in December 1994 in New York, he was on the >>> brink of a very busy season. Hapgood, in its new version, was opening the >>> following evening in Lincoln Center Theater's intimate Mitzi Newhouse >>> Theater in a production starring Stockard Channing. That was to be followed >>> several months later by Arcadia at Lincoln Center's large Vivian Beaumont >>> Theater. Arcadia was a continuing success in London, and in February Indian >>> Ink, his stage version of his radio play, In the Native State, was scheduled >>> to open in the West End. >>> Arcadia is one of his most ambitious and satisfying plays, a prismatic >>> exploration of English history, horticulture, the chaos theory and the >>> difference between the classical and romantic traditions. In the subtext are >>> such issues as the pursuit of epiphany and the nature of genius. Along the >>> way, people keep leaping to the wrong conclusions, which heightens the >>> hilarity and the complexity. One of the many mysteries is who did what to >>> whom in the game room or, rather, the game book, where Lord Byron, as a >>> guest in this elegant country house, is recorded as having shot a hare. At >>> the center of the play is an historian, Hannah Jarvis, but she is only one >>> of a houseful of kaleidoscopic characters that emerge from the playwright's >>> fervid imagination. >>> In contrast to Arcadia, Hapgood had not been a critical success in its >>> original production in London (in 1988). Since then, Stoppard had revised >>> the play and clarified the plot. This devious comedy-mystery equates the >>> wave-particle theory of light with the doubledealing world of espionage. The >>> new version is 20 minutes shorter and clues the audience earlier that the >>> spy named Ridley might have a double. In this Rubik's cube of a play, there >>> are triple, perhaps even quadruple agents and a multiplidty of secret >>> identities. >>> After sudden shifts in his busy schedule, the peripatetic playwright was >>> in a suite in a New York hotel, prepared for a long conversation. He lit the >>> first of many cigarettes. His body was reasonably at rest, his mind >>> restlessly in motion. >>> MEL GUSSOW: You've said, "If there's a central idea in Hapgood, it is the >>> proposition that in each of our characters is the working majority of a dual >>> personality, part of which is always there in a submerged state." >>> TOM STOPPARD: That was the hypothesis which generated the play >>> itself--that the dual nature of light: works for people as .well: as things, >>> and the one you meet in public is simply the working majority of that >>> person. It's a conceit. It may have some truth to it. >>> And the dual personality doesn't refer simply to counter-spies, but to >>> Hapgood herself and others. >>> It's not really dual personality. It's just that one chooses to "be" one >>> part of oneself, and not another part of oneself. One has a public self and >>> a submerged self. It's that sort of duality. >>> Is one real, the other false? >>> No, they're both part of the whole person. >>> And it's something other than multiple personalities. >>> It's not multiple personalities. It's a complex personality only part of >>> which runs the show. >>> Is that true in your life as well? >>> Well, I wouldn't have the presumption to exempt myself [laughs] from this >>> general rule. >>> When you were a journalist, you operated both as a critic and as an >>> interviewer, and you used different names. >>> I did, only because it seemed a bit second-rate to write too many things >>> on the same page. It wasn't that I was trying to conceal half of myself. But >>> the thesis is really to do with people's temperaments. Their personal >>> histories, like my personal history, is not central to the idea at all--the >>> fact that I was born into one language, and grew up in another, and so on. >>> That doesn't sound irrelevant by any means, but ifs not supposed to be a >>> comment about that kind of life, about my kind of life. >>> Do all your plays have an element of autobiography? >>> I wonder. Perhaps it's something which it's impossible to escape, and one >>> shouldn't protest against it, though I wouldn't have thought Rosencrantz and >>> Guildenstern [Are Dead] had anything autobiographical in it. I'm not really >>> the right kind of writer to oblige such a speculation because the area in >>> which I feed off myself is really much more to do with thoughts I have had >>> rather than days I have lived. >>> A number of misconceptions have sprung up about you and your work, that >>> your plays are divorced from your own life; also that you're very >>> intellectual and unemotional. One certainly doesn't feel that in the scene >>> in which Hapgood is so moved that she cries. >>> That particular duality has become a bit of a cliche about me. It's >>> rather a high-tech production of Hapgood, so it does encourage that view of >>> the work. >>> But there is a heart there. >>> I don't think you would bother to write about it if it was about robots. >>> It's only interesting because they're human beings. >>> In searching for the arc of your career, I made a list of the principal >>> subjects in the plays: Rosencrantz and Guildenstern, theatre-philosophy; The >>> Real Inspector Hound, theatre-journalism; Traveslies, lit-phil; Jumpers, >>> phil-gym; Dirty Linen, pol-sex; Night and Day, journ-pol; Every Good Boy >>> Deserves Favor, music-pol; Cahoot's Macbeth, theatre-pol; The Real Thing, >>> theatre-love; Hapgood, sci-spy; Arcadia, lit-math-hortarch; Indian Ink, >>> lit-art-pol-soc. It seems that the plays are becoming more inclusive or >>> expansive. >>> And yet Indian Ink is actually a very intimate play. It's a play of >>> intimate scenes. There's something working against the notion that the plays >>> are expanding in them horizons. There is a lot of lit in the plays and a lot >>> of phil, which I think is a fair comment on what I'm made up of. >>> A lot of lit and phil and more and more sci and phys. >>> I've got a funny feeling the sci and phys are a phase, like delinquency, >>> which one goes through. >>> It's lasted two plays. >>> Exactly, it's two plays. Two suggests purpose, misleadingly. >>> One is singular, two is a coincidence, three is a trend. >>> In the case of those two plays, they began because I stubbed my toe >>> against two pieces of information or two areas of science which I found >>> really interested me. It didn't seem to be a release of some scientist >>> within me. On the contrary, it seemed to be going against what really >>> interests me, what I choose to read, and so on. I thought that quantum >>> mechanics and chaos mathematics suggested themselves as quite interesting >>> and powerful metaphors for human behavior--not just behavior, but about the >>> way, in the latter case, in which it suggested a determined life, a life >>> ruled by determinism, and a life which is subject simply to random causes >>> and effects. Those two ideas about life were not irreconcilable. Chaos >>> mathematics is precisely to do with the unpredictability of determinism. >>> Hifalutin' words, but it's actually a very fascinating door, a view through >>> a cracked-open door. Pinning myself down to your question: I have no sense >>> of looking for a third such fascinating scientific metaphor, and I have no >>> reason to suppose that I'll stub my toe on a third one. >>> How did you stub your toe against those two? >>> Casually. >>> Books in an airport? >>> I joke like that, but it's not one book on one day. My life is sectioned >>> off into hot flushes, pursuits of this or that. Rather in the same way as a >>> year ago or more, a fairly quiescent interest in or sympathy towards Roman >>> poetry and literature of antiquity suddenly had its turn. I think it turned >>> into something more obsessive through reading about A. E. Housman, again >>> somebody whom I had read for years on and off. That was another quiescent >>> interest. >>> Do you read Latin? >>> I can't say I read Latin. I studied Latin up to what we call in England A >>> level. So it's not gibberish to me. But I read it with cribs. What I enjoy >>> is reading a particular poem or a poet in numerous translations, to see how >>> different translators try to find the original. There's a play to be written >>> about translation, I think. >>> For your own translations, do you always work from a literal version? >>> Yes. I've done two Schnitzlers, a Nestroy and a Molnar, and I worked on a >>> Lorca. It doesn't feel like much over 30 years. Years and years ago, one of >>> my resolutions--now a failed resolution was to learn a language well enough, >>> Russian by choice, not simply for purposes of translation but so that I >>> could read things the way they were meant to be understood. >>> And what have you done about that? >>> Nothing. I postponed reading War and Peace until I could read Russian. >>> The result is now I cannot read Russian and I have not read War and Peace. >>> Perhaps you need a long sabbatical. >>> I don't know about these sabbaticals. My ambition is to retire, and has >>> been for ages. When I say retire I mean just pladdly writing at my own speed >>> without owing anything to anybody, without anybody waiting for what I'm >>> writing. I never seem to manage to do that. I think it's a temperamental >>> defect. That's pretty clear by now. >>> To return to Arcadia, where did it begin? With James Gleick's book, >>> Chaos? >>> I think so. At the same time, I was thinking about Classicism and >>> Romanticism as opposites in style, taste, temperament, art. I remember >>> talking to a friend of mine, looking at his bookshelves, saying there's a >>> play, isn't there, about the way that retrospectively one looks at poetry, >>> painting, gardening, and speaks of classical periods and the romantic >>> revolution, and so on. Particularly when one starts dividing people up into >>> classical temperaments and romantic temperaments--and I suppose it's not >>> that far from Hapgood in a way. The romantic temperament has a classical >>> person wildly signalling, and vice versa. >>> You and I tend to talk about all this as if it really works like that, as >>> if there's this acorn that you find somewhere and put manure around, and >>> water, and hope it grows into some kind of sapling, and so on and so forth. >>> It doesn't seem to me to be that kind of orderly natural development. >>> No single acorn? >>> It's more than that. I have the feeling that you throw the acorn away at >>> some point. You encourage me to talk about a book or a thought which >>> generates everything that follows. It's true in a limited sense, but an >>> alternative way of making a picture of the process would be to say that it's >>> something that starts you up, like a motor gets started up, like a cranking >>> handle. Then you throw the handle away, and drive off down the road >>> somewhere and see where the road goes. >>> What's an acorn that you've discarded? >>> When it comes to it, I don't think Arcadia says very much about these two >>> sides of the human personality or temperament. I don't think it's in the >>> play. It's by no means in the foreground. And yet, it's firing all around >>> the target, making a pattern around the target. >>> Where does the texture start? Suddenly horticulture enters, and then Lord >>> Byron. You didn't set out to write a play about horticulture and Byron? >>> No, I didn't, but I had read one or two books about Byron over the years, >>> and I was reading them with a faint sense of undisclosed purpose. [ suppose >>> if you're my kind of writer you're always working. One's leisure reading is >>> subconsciously purposeful. >>> You still write in longhand and then dictate it into a tape recorder? >>> Yes. I do exactly that with new work, but when I'm rewriting or changing >>> things, I now prefer to give my secretary lots and lots of pages with >>> longhand and squiggles, "insert here." I love working on a typescript. I >>> love the power of the blue pencil. "This is rubbish, take it out. Put this >>> in. Turn it around." >>> Is it a canard that you're a conservative? >>> Would it be one? I always thought of myself as a conservative, not in a >>> sort of ideological way. I'm really a bit of a failure talking about >>> politics because I never get into the subject or issues in the manner in >>> which a responsible citizen really ought to. I respond in some other way >>> aesthetically even, certainly emotionally. Emotionally I like to conserve. I >>> don't like impulsive change. But what I like and don't like certainly >>> doesn't divide up into things that the Conservative Party or the Labor Party >>> does. >>> I was very pleased with Mrs. Thatcher at the beginning. I thought of her >>> as being a subversive influence, which I found very welcome. The >>> Wilson-Callaghan pre-Thatcher years in English politics I thought were >>> nauseating. I thought politicians had become people one didn't bother to >>> listen to because they seemed desperately anxious not to expose their flanks >>> to any side. There were very few unqualified statements of intent. I loved >>> the way she came in. I was very personally interested in the whole saga of >>> print unions, for example, a huge corrupt scandal which government after >>> government wouldn't tackle. >>> Which brings us to [Rupert] Murdoch as well. I think he's a very had >>> influence on English, or indeed global, cultural life. Ten years ago, he was >>> a sort of hero for me, for sending the printers packing. The printers were >>> making newspapers into an impossible economic proposition, and I love >>> newspapers. I was excited when Murdoch came in his Australian underhanded >>> way with a lot of money behind him and just destroyed them. It was well >>> overdue. >>> You've been so strong on human rights. What about human rights for >>> printers? >>> I don't think you have a human right to cheat and steal. There were >>> printers signing on as Mickey Mouse. I just think they pushed their luck. >>> Murdoch said, it's not a union, it's a protection racket. I think that was >>> probably quite fair. >>> But then you turned against Murdoch. >>> That's part of a shift of feeling about the press as a whole. Night and >>> Day contains statements which are still flourished. I read one last week by >>> people who want to leave the press completely untrammelled. I don't know >>> what I want now. I've arrived at a kind of defensive position, which is not >>> entirely where I stand intellectually. I've decided that getting cross about >>> the press is like getting cross about the Flat Earth Society. It's become an >>> awful joke. What I find upsetting about the notorious end of the British >>> press is what it says about the readership. I think the tabloid press treat >>> their readers almost as if they are morons. And it's awful the way the >>> readers don't seem to mind. >>> You've said, "Journalism is the last line of defense in this country." >>> I think that's still true. I think people would be getting away with much >>> more, were it not for newspapers blowing the whistle, or just being there to >>> observe. >>> Could you imagine having stayed in journalism and not being a playwright? >>> >>> No. Looking at it now, I would think of that as an unhappy outcome, not >>> because I love the theatre, in quotes, but because it was wonderful to work >>> for myself and not have to be accountable to somebody. I have a formulation >>> about the luck we've had, which is that people like myself appear to have >>> promoted a recreation into a career. We're getting away with it, and it's >>> the getting away with it part which I don't want to lose. It seems quite >>> capricious, the way one profession is rewarded over another one. There's an >>> evolution in every kind of society, particularly now in what we call the >>> free-market society, where certain pursuits are amazingly over-rewarded. >>> Being a popular singer, or in a band. There's no logic in it. >>> For you, having chosen playwriting, it's a kind of super freelance. >>> You're not beholden to anyone. >>> No. I'm one of the people who fall into the over-rewarded category, I >>> suppose. I don't coast on it. I work harder than I used to when I was a >>> reporter. But it feels different. I do it for myself. >>> You've talked about writing a play about your growing up in India. Is >>> Indian Ink the play? >>> No. I had talked about writing about the ethos of empire, and I suppose >>> that's a very good example of what we were speaking about earlier: the acorn >>> hasn't been thrown away. But it's not really just that. It's much more an >>> intimate play than a polemical play. One kids oneself along that every >>> little shred of reference to the larger subject resonates through the whole >>> piece, and enlarges the play. That's just a kind of sweet thought by the >>> playwright. >>> Does it surprise you that you've dealt with so many different subjects? >>> No. I'm a bit of a gadfly. Different things catch my interest for a >>> while, and I have a hot flush about it, and something else catches my >>> interest. Of course, a gadfly is not the ultimate compliment. >>> It borders on the dilettante. >>> Precisely. What we're leaving out: The cake is upside down. Theatre is a >>> popular art form, it's part of the world of relief and release, of >>> entertainment. That's what it's for. The other bit of the cake which is to >>> do with formulating and promulgating and examining and revealing issues, >>> life that's a program that can be continued through other means: journalism, >>> television, essays. There's a case for the view that if you've chosen to >>> work for the theatre, your fundamental objective is to be part of an art >>> form that diverts, entertains and instructs rather than that you're engaged >>> in teaching your fellow citizens certain lessons. >>> You said that if you wanted to change the world, the last thing you would >>> do is write a play. >>> What I really meant was that if there is a local concrete problem which >>> you want to change, yes. I said that, but I'm not sure that it's entirely >>> watertight. Maybe the way to continue our conversation about newspapers >>> would be to write a play. >>> Is plot still difficult for you? >>> Can't you tell? [Laughs.] With Arcadia I got lucky. I didn't know it >>> would work out like that. Like most writers like most people-- if I could >>> live a slightly different kind of life, it would make an enormous amount of >>> difference to how much I wrote, and the quality of what I wrote. >>> Occasionally you get into a period where mentally you're living with this >>> play, nothing is interrupting you, and all the possibilities the neurons or >>> nerve ends you're aware of them all and, consciously or subconsciously, you >>> make the best possible use of them. If you have enough solitude and >>> concentration, you can make the best of the opportunity. But a lot of the >>> time I'm writing in a kind of harassed, interrupted way. I came to the >>> conclusion the other day that the information is being fed in the wrong >>> order in the second act of Indian Ink. I came back from Hapgood and looked >>> at it for an hour and a half before I fell asleep. It's all done in the >>> space of an hour here, an hour there. That's not how to do these things. >>> You might say from the evidence that you thrive on that process. >>> Well, no. With Arcadia, I had a really good period of time, where somehow >>> I could keep it all in view and look further down the road and see where >>> things were heading, and manipulate the material so I could intersect >>> properly. The more I got into it, the more I realized that this was going to >>> work as a piece of storytelling. Hapgood was a kind of struggle from the >>> word go, and I was still dealing with it at Lincoln Center, trying to >>> explain, simplify. We started off by referring to it as a melodrama. The way >>> you label something is very helpful; it gets you out of the corner. Once I >>> began to think of Hapgood as a melodrama, I felt much more comfortable with >>> it, because it is melodramatic. It's not satiric about the spy business. It >>> operates on a heightened, slightly implausible level of life. It's probably >>> the only play I've written, as far as I can remember offhand, in which >>> somebody shoots somebody else on stage. >>> It has to work on that level for the audience to accept it. >>> It absolutely does. The thing about melodrama is that if the audience >>> makes the right decision about it, they accept everything. If they make the >>> wrong decision about it early on, then the drama actually becomes silly. >>> How would you categorize Arcadia? >>> Because I was happy with it anyway, I didn't need to label it. I didn't >>> need to get myself off the hook. >>> Some people think it's your best play. >>> I know they do. I think that's what they're talking about: the story >>> works best. >>> But you know some of your plays are better than others. >>> Of course. And in spite of defects I'm aware of and would like to correct >>> on all of them, I also think that some of them actually are good, better >>> than good sometimes. I'm now contradicting myself. If I have to talk about >>> them at all, which I never volunteer to do, I'd rather use a phrase like >>> "madcap comedy," to dissemble. In a much simpler sense, there's a modest >>> person hiding a proud person, I suppose. I never thought I would manage to >>> write a play at all. It was something I wanted to do, but I was astonished >>> when I managed to do it. Just seemed to be something that would be too >>> difficult for me to do when I was starting out. >>> You used to say, and I never entirely believed it, that all your >>> characters sounded like you. >>> I used to say it because I used to think it was true, and maybe it was >>> true in those days. i think everybody in Night and Day, sounds like me, for >>> example. It's less true now. This was literally true of Night and Day in one >>> isolated case: I took a speech away from one character and gave it to >>> another, and it made no difference. I just needed somebody to say something >>> at that point. In that sense, they were all speaking with my voice. In a >>> limited way, you might say that they were interchangeable. So I meant it >>> when I said it, but I wouldn't say it nowadays. >>> It's not true of Arcadia, and it's not true of Indian Ink. >>> No, it's not. >>> Years ago, at the time of The Real Thing, Mike Nichols said you were one >>> of the few happy people he knew. When I mentioned that to you, you were >>> offended by the word happy, you said that you were as unhappy as the next >>> man. >>> Boasting about my unhappiness! >>> Are you a happy man? >>> Yes. I'm just looking at the word happy for a moment. Mike was always >>> tremendously pleased by the definition of happiness in that play. "Happiness >>> is equilibrium. Shift your weight." Attaining your happiness, if you're >>> talking about me, is learning that lesson. You try not to stand in the way >>> of the onrushing train, to change the metaphor. But in fact I suppose what >>> you're remembering is that happiness seems to imply a turning away from >>> whatever might compromise your happiness. One is exposed naked in the winds >>> of the world, and everybody around you has got problems. Some are acute, >>> some are less serious than others. You live in the little world of your >>> family and the larger world of your colleagues and the huge world of >>> newspaper and television news. So happiness is not really a very adequate >>> word. When I said I felt blessed by good fortune, that's generally the >>> truth. Clearly your life and everyone's life is full of things that make you >>> unhappy from time to time. You just deal with them. >>> That reminds me again of the boy in your play, Where Are They Now? >>> That indeed is the play where that character says happiness is a passing >>> shift of emphasis. I do have an idyllic vision of life. Whether one has a >>> right to live it is another matter. It's to do with self-reliance. It's >>> cultivating your garden without being pulled, without having one's sleeve >>> tugged by what's happening outside the wall. >>> PHOTO (BLACK & WHITE): Tom Stoppard >>> PHOTOS (BLACK & WHITE): Classical or romantic? You be the judge in >>> Stoppard's Arcadia, seen here in two productions directed by Trevor Nunn. At >>> right, Felicity Kendal and Samuel West appeared at Britain's National >>> Theatre. Below, Billy Crudup and Jennifer Dundas at New York's Lincoln >>> Center Theater. >>> PHOTOS (BLACK & WHITE): "Hapgood is not satiric about the spy businesszz >>> It operates on a heightened, slightly implausible level of life." Above, Jo >>> Ann Carney, Dan LaMorte and Gus Bustinice, left to right, in a production >>> directed by Mary Zimmerman at Chicago's Center Theatre Ensemble. Below, >>> David Lansbury and Stockard Channing in Jack O'Brien's Lincoln Center >>> Theater staging. >>> PHOTOS (BLACK & WHITE): "I'm a bit of a gadfly." Above, a scene from >>> Rosencranz and Gaildenstern Are Dead, in a production at the New Jersey >>> Shakespeare Festival; which featured, from left, Davis Hall, Bub Ari, Eric >>> Tavaris, Eduardo Patino and John Nichols. Above right, Michael Gross and >>> Linda Purl in The Real Thing at the Doolittle Theatre in Hollywood. Below >>> right, lsiah Whitlock Jr. and DeAnn Meats in Night and Day at San >>> Francisco's American Conservatory Theater. >>> ~~~~~~~~ >>> AN INTERVIEW BY MEL GUSSOW >>> >>> Mel Gussow, who writes about theatre for the New York Times, is the >>> author of Conversations with Pinter and Conversations with Stoppard (both >>> Limelight Editions). This article is excerpted by permission from the >>> latter, which was published last month. >>> ------------------------------ >>> Copyright of American Theatre is the property of Theatre Communications >>> Group and its content may not be copied or emailed to multiple sites or >>> posted to a listserv without the copyright holder's express written >>> permission. However, users may print, download, or email articles for >>> individual use. >>> >>> >>> Back >>> >>> ------------------------------ >>> Windows Live™ Hotmail®:…more than just e-mail. Check it >>> out.<http://windowslive.com/online/hotmail?ocid=TXT_TAGLM_WL_HM_more_042009> >>> >>> >>> >>> ------------------------------ >>> Hotmail® has ever-growing storage! Don’t worry about storage limits. Check >>> it >>> out.<http://windowslive.com/Tutorial/Hotmail/Storage?ocid=TXT_TAGLM_WL_HM_Tutorial_Storage1_052009> >>> >> >> >> >> -- >> Christopher W. Jones >> Towson University '09 >> Dartmouth College '08 >> > >