9,691 research outputs found
In Richtung Delogozentrismus : eine Studie der dramatischen Arbeiten von Samuel Beckett, Tom Stoppard und Caryl Churchill
No full textThe relation between reality and language, the instability of language as a signification system, the representation crisis, and the borders of interpretation are the controversial issues that have engaged not only philosophers, but also many authors, translators, and literary critics. Some philosophers like Derrida accuse Western thinking of being obsessed with binary oppositions. In Derrida's view, Western tradition resorts to external references as God, truth, origin, center and reason to stabilize the signification system. Since these concepts lack an internal sense and there is no transcendental signified that can fix these signifiers, language turns to an instable system by means of which no fixed meaning can be created. Many authors like Beckett, Stoppard, and Caryl Churchill also noticed this impossibility of language. While Derrida's deconstructive approach to this crisis has an epistemological nature, these playwrights present an aesthetic solution by turning the deconstructive potential of language against itself in text and performance. This dissertation aims at exploring their performing methods and dramatic texts to demonstrate how their delogocentric strategies work. By analyzing their plays, I will examine if their use of signifiers that have no references in reality, intentional misconceptions, disintegrated subjectivities, decentered narratives, and experimental performances can help them undermine the prevailing logocentrism of Western thought. The examination of the change in aesthetic strategies from Beckett, who belongs to earlier stages of post modernism, to Caryl Churchill, who should perform in a globalized world with increasing dominance of speed and information, is another aim of this research. In my view,Beckett's obsession with unspeakable, absurdity, and disintegration of subjectivity develops to Stoppard's language games, metadrama, and anti-representation and culminates in Churchill's anti-narrative texts and pluralistic performances. The monophony of Beckett's dramatic texts is replaced by the polyphony of Churchill's performances, which are a mixture of theater, dance and music. However, all explored dramatic texts in this dissertation have something in common: they are language games, which have no claim on a faithful representation of reality or transcendental truth.Der Zusammenhang der Realität mit der Sprache, die Unstabilität der Sprache als ein Signifikationssystem, die Repräsentationkrise, und die Grenze der Interpretation sind die Streitpunkte, die nicht nur die zeitgenössischen Philosophen sondern auch viele Autoren beschäftigt haben. Manche Philosophen wie Derrida unterstellen, dass das westliche Denken das Wort als Sinträger betrachtet. Seiner Meinung nach beruht der Logozentrismus des abendländischen Denkens auf binärer Opposition oder externer Referenz wie der Präsenz von Gott, Wahrheit, Ursprung, Ursache, Transzendenz oder einem Zentrum. Da alle diese Begriffe ohne eigentlichen Inhalt sind, und es kein transzendentales Signifikat gibt, auf das alle diese Signifikanten jeweils verweisen, wird die Sprache zu einem unstabilen Signifikationssystem, deren Mittel keine fixierbare Bedeutung erschaffen wird. Aus dieser Problematik kommt eine Repräsentationkrise, die nicht nur die Philosophie sondern auch die Literatur betrifft. Ob und wie man gegen die Grenze der Sprache anrennen kann, ist nicht nur eine philosophische, sondern auch eine ästhetische Frage. Während die Antwort der Philosophen wie Derrida eine dekonstruktive Annäherung zur logozentrischen Interpretationen ist, schlägt die Literatur eine ästhetische Lösung vor: die Darstellung der Sprachkrise mittels der Sprache. Kann uns das experimentelle Kunstwerk der Autoren wie Samuel Beckett, Tom Stoppard und Caryl Churchill von der Illusion der Wirklichkeit befreien? Ist es möglich eine anti-erzählenden Erzählung zu schaffen, die die Dominanz des beherrschenden Diskurses abschaffen kann? Diese Fragen zu erforschen visiert diese Dissertation an. Die ersten Versuche dieser Autoren gegen pure Repräsentation richten sich an neue Phantasiequellen außerhalb der Realität. Dramatiker wie Beckett, Stoppard und Churchill nutzen die Eigendynamik der Sprache als eine Quelle um ihren Funktionsausfall darzustellen. Die Signifikate, die sich auf keine wirkliche Signifikante beziehen, die Charakteren, für die es kein Duplikat in der Realität gibt, die zerbrochene Subjektivität, die sich nicht mittels Sprache äußern kann, die Handlung, der es an Einheit oder auch Beschlussunfähigkeit mangelt, und schließlich die Sprache die nicht mehr eine ordentliche Sprache ist, stellen das Mittel, das diese Dramatiker für die Dekonstruktion der Sprache und des Textes brauchen. Diese Arbeit wird versuchen bei der Analyse ihrer Theaterstücke aufzuzeigen, wie die Methode, die diese Autoren genutzt haben, sich im Lauf der Zeit geändert hat. Becketts Besessenheit mit dem Unsprechbaren, der Sinnlosigkeit oder zerstörter Subjektivität steigert sich zu undeutlicher Sprache, Identitätsverlust und Antirepräsentation bei Stoppard und kulminiert in Destrukturierung des Narrativs und der Sprache bei Churchill. Die Einstimmigkeit von Becketts Werken ist durch die Polyphonie von Churchills Theaterstücke, die eine Mischung aus Theater, Tanz und Musik sind, ersetzt worden. Alle Theaterstücke, die in dieser Arbeit analysiert wurden haben jedoch eine gemeinsame Eigenschaft: Sie sind Sprachspiele, die keinen Anspruch auf Realitätstreue oder transzendentale Wahrheit haben
A Conversation with Tom Stoppard
No full textThe following conversation took place at the Sorbonne university, during the ‘Arcadias’ conference co-organised in October 2011 by the universities of Paris-Sorbonne and the Sorbonne Nouvelle. The event was organised by Professor Elisabeth Angel-Perez and Dr Julie Vatain and chaired by Elisabeth Angel-Perez, Julie Vatain and Liliane Campos. Elisabeth Angel-Perez: There is no need to introduce Sir Tom Stoppard, one of today’s most exceptionally talented and prolific playwrights. You have been ..
A Conversation with Tom Stoppard
No full textThe following conversation took place at the Sorbonne university, during the ‘Arcadias’ conference co-organised in October 2011 by the universities of Paris-Sorbonne and the Sorbonne Nouvelle. The event was organised by Professor Elisabeth Angel-Perez and Dr Julie Vatain and chaired by Elisabeth Angel-Perez, Julie Vatain and Liliane Campos. Elisabeth Angel-Perez: There is no need to introduce Sir Tom Stoppard, one of today’s most exceptionally talented and prolific playwrights. You have been ..
CONCLUDING THE YEAR OF SHAKESPEARE: «SHAKESPEARE’S» SCREENPLAYS BY TOM STOPPARD
No full textTom Stoppard, being a prominent author of contemporary British theatre, deals with some cinema projects as well. He is the writer and director of the 1990 drama film Rosencrantz and Guildenstern are Dead, based on his own famous 1966 play. Moreover, he is the author (in collaboration with Marc Norman) of the screenplay Shakespeare in Love for the Oscar-winning movie (1998). Both projects are actually concerned with Shakespeare in cinematography, though Rosencrantz and Guildenstern are Dead can be regarded as twice an adaptation: on the one hand, Stoppard’s play is an adaptation (a pastiche — to be more concrete) of Hamlet; on the other hand, the screenplay is a cinematographic adaptation of the original theatre play. As for Shakespeare in Love, the film can be identified as ‘melodrama’, but there are many literary allusions to Shakespeare’s Twelfth Night, Romeo and Juliet, Two Gentlemen of Verona, and Hamlet. The article analyses, to what extent Tom Stoppard as a postmodernist playwright has been doing a research to construct his Shakespeare-based films. The author of the article compares Stoppard’s literary and cinematographic Shakespearian codes, and the technique of his early and more late plays
Tom Stoppard on art, Charlie Hebdo - and why it's a bad time to be a voter
Get PDFAn exclusive and wide-ranging interview with Tom Stoppard on the occasion of his new play, The Hard Problem
President's Lecture Series - Tom Stoppard
No full textSpeakers: Tom Stoppard, Terrence DoodyContents include: As part of the President's Lecture Series, Tom Stoppard speaks about plays and his own work
Tom Stoppard: Humanizing chaos
No full textThe purpose of this study was to critically evaluate Tom Stoppard’s application of chaos theory and quantum science in ROSENCRANTZ AND GUILDENSTERN ARE DEAD, HAPGOOD and ARCADIA; and determine the extent to which Stoppard argues for the importance of human action and choice. Through critical analysis this study examined how Stoppard applies the quantum aspects of: (1) indeterminacy to human epistemology in ROSENCRANTZ AND GUILDENSTERN ARE DEAD; (2) complementarity to human identity in HAPGOOD; and (3) recursive symmetry to human history in ARCADIA. It also examined how Stoppard excavates the complexities of human action, choice and identity through the lens of chaos theory and quantum science. These findings demonstrated that Tom Stoppard is not merely juxtaposing quantum science and human interactions for the sake of drama; rather, by excavating the complexities of human action, choice and identity through the lens of chaos theory and quantum science, Stoppard demonstrates the fundamental connection between individuals and the post-Newtonian universe
Rosencrantz program
No full textTim Rosin, director; written by Tom Stoppard. Summary: Concerns the misadventures and musings of Rosencrantz and Guildenstern, two minor characters from Shakespeare's Hamlet who were childhood friends of the prince. Stoppard flippantly quipped that his sh
Rosencrantz postcard
No full textTim Rosin, director; written by Tom Stoppard. Summary: Concerns the misadventures and musings of Rosencrantz and Guildenstern, two minor characters from Shakespeare's Hamlet who were childhood friends of the prince. Stoppard flippantly quipped that his sh
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