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Polyphonic Re-telling of Russian Thinkers in Stoppard's Voyage
Park-Finch Heebon(박희본) 한국현대영미드라마학회 2009 현대영미드라마 Vol.22 No.2
In Voyage, the first play of The Coast of Utopia (2002) trilogy, Tom Stoppard dramatizes the fervent youth of idealism and conflicting ideas among a group of mid-nineteenth-century Russian revolutionaries and writers. Stoppard bases his dramatic portrayal of this first generation of the Russian intelligentsia on multiple sources. However, in his episodic, cyclical, and panoramic re-telling of their personal and intellectual reactions to oppressive reality in Russia, the playwright adds his own interpretative color by providing each character with an equally articulate voice, allowing them to debate freely their differing perspectives on social and personal reforms. Stoppard has brought alive the historical figures taken from the source texts and has made their philosophical debates, idealistic visions, and political and personal conflicts more vivid by presenting their opposing views in counterpoint, while bringing them together in a polyphonic whole. The play is also interlaced with distinctively Stoppardian wit and humor, making it more humane and accessible to contemporary audiences and providing them with both entertainment and education. This paper explores how the playwright juxtaposes and re-presents the many voices in Voyage, and how duality and polyphony help him to achieve his desired dramatic effect.
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Textual and Verbal Playfulness in Stoppard's Travesties : Mise-en-abyme as a Foregrounding Device
Park-Finch Heebon(박희본) 한국현대영미드라마학회 2011 현대영미드라마 Vol.24 No.1
Tom Stoppard’s plays are noteworthy for the manner in which serious ideas are expressed not only through artful language and complex dramatic structures, but also through entertaining stage techniques. This paper examines the playful mode of textual and verbal interweaving in Travesties (1974), awareness of which is as crucial to a balanced appreciation of Stoppard’s dramaturgy as the exploration of debates developed in the play. This study focuses on the varying ways in which Stoppard employs the self-referential, foregrounding device of mise-en-abyme (a memory within a memory, a story within a story, the act of writing within the act of writing, and a-play-within-a play) in order to address a multiplicity of themes and styles in relation to art and politics. It is argued that Stoppard’s playful transposition of ideas and texts illuminates the context-dependent nature of perceptions and the uncertainty of memory, adding a sense of ambiguity and paradox through its infinite regress and suggesting the artificiality of narrative practices, while pointing to the intertextual and interdependent nature of life and literature.
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박희본 새한영어영문학회 2009 새한영어영문학 Vol.51 No.3
In his 1974 stage play, Travesties, Sir Tom Stoppard employs the postmodern aesthetic devices of intertextual, historical and artistic pastiche, not only to examine the interdependence of art and history, but also to highlight the validity of art in a time of political upheaval in 1917. Thus, Oscar Wilde's masterpiece of social critique and comedy, The Importance of Being Earnest(1895), provides the stylistic and contextual template, while James Joyce's Ulysses(1922) provides many literary references and allusions. In addition, arguments about the meaning of art are debated by three major revolutionary figures(Joyce, Tristan Tzara, Lenin), whom Stoppard resurrects from literary and political history, and who give their own personal perspectives on the issues being raised. Historical and artistic events take on an almost random pastiche form, as they are filtered through a metadramatic narrator(Henry Carr) and his erratic memory, in a series of comic, multiple rewritings of Wilde, direct quotations of Joyce and Lenin, and references to Shakespearean sonnets, Dadaist poetry and its mode of performance, along with 'retellings' of historical 'facts' by Lenin and his wife Nadya. The combined effect is a uniquely 'Stoppardian Comedy of Ideas', which satirizes both sides of the 'meaning of art' argument, just as The Importance of Being Earnest satirizes Victorian England, through both mimicry and exaggeration, using an innovative style that is entertaining and surprising, while delving into important philosophical and aesthetical ideas. The new synthesis of form and content that emerges in this play neither ridicules nor directly critiques the sources, but instead reflects and builds upon them, producing an effect that is both playful and rich in its comedy and wittily allusive in its irony. This paper thus examines Stoppard's originality and eclecticism in the use of postmodern pastiche techniques in Travesties, and explores how the playwright employs them as effective dramatic tools to dramatize his art. In this way, intertextuality and pastiche, along with 'textual doubling and its linguistic transformation' add further dimensions to the dramatic toolbox, as Stoppard encourages the reader and the audience to view contemporary society through the lens of postmodern aesthetics.
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