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When the National Theatre needed a last-minute substitute for a canceled production of As You Like It, Kenneth Tynan decided to stage Rosencrantz and Guildenstern Are Dead, a work by an unfamiliar author that had received discouraging notices from provincial critics at its Edinburgh Festival debut. Of course, the play, when it opened in April 1967, met with universal acclaim. In New York the next year, it was chosen best play by the Drama Critics Circle. In such an unlikely way, Tom Stoppard came to light. Born in Czechoslovakia, a country he left (for Singapore) when he was an infant, he began his literary career as a journalist in Bristol, where play reviewing led to playwriting. After Rosencrantz and Guildenstern, Stoppard's reputation suffered through the production of a number of minor works, whose intellectual preoccupations were shrugged off by reviewers: Enter a Free Man (1968; "an adolescent twinge of a play," N.Y. Times), The Real Inspector Hound (1968; "lightweight," N.Y. Times), and After Magritte. But in the 1970s, the initial enthusiasms aroused by Rosencrantz and Guildenstern were more than vindicated by the production of two full-length plays, Jumpers (1974) and the antiwar play Travesties (1975), whose immense verbal and theatrical inventiveness made them absolute successes on both sides of the Atlantic. Stoppard's method from the start has been to contrive explanations for highly unlikely encounters---of objects (the ironing board, old lady, and bowler hat of After Magritte), characters (Joyce, Lenin, and Tzara in Travesties), and even plays (Hamlet, Rosencrantz and Guildenstern, The Importance of Being Earnest, Travesties, and The Real Thing, 1982). In the 1970s, Tynan called for Stoppard---as a Czech and as an artist---to engage himself politically. But although political subjects have since found their way into pieces from Every Good Boy Deserves Favor (1977) to Squaring the Circle (1985), politics and art seem to have become just two more of the playwright's irreconcilables, which meet, but never join, in the logical frames of his comedy. The presence of political material---such as the Lenin sections that nearly ruin the second part of Travesties---has occasionally strained the structure of the plays. But in The Real Thing Stoppard is comfortable enough with the satire on art and activism to bring a third subject, love, into the mix. Stoppard has acknowledged his Eastern European heritage nonpolitically, in a series of adaptations of plays by Arthur Schnitzler (see Vol. 2), Johann Nestroy, and Ferenc Molnar. (Bowker Author Biography) Tom Stoppard is the author of many plays, including Rosencrantz and Guildenstern Are Dead, Jumpers, Travesties, and The Invention of Love. He lives in London. (Publisher Provided)
— biography from Rosencrantz and Guildenstern Are Dead
… (plus d'informations)
Notice de désambigüisation

(dut)The author was born as Tomas Straussler. After the death of his father, his mother married the Brittish Major Stoppard, and Tom since accepted his name.

Rosencrantz and Guildenstern Are Dead 7,326 exemplaire(s), 82 critiques
Arcadia 2,490 exemplaire(s), 50 critiques
Travesties 910 exemplaire(s), 12 critiques
The Real Thing 664 exemplaire(s), 8 critiques
The Invention of Love 649 exemplaire(s), 10 critiques
Jumpers 574 exemplaire(s), 5 critiques
Shakespeare in love (Screenwriter) 437 exemplaire(s), 7 critiques
Tom Stoppard Plays 5 393 exemplaire(s), 5 critiques
Brazil (Screenwriter) 313 exemplaire(s), 3 critiques
The Real Inspector Hound 282 exemplaire(s), 6 critiques
Rock 'n' Roll: A New Play 281 exemplaire(s), 8 critiques
Shakespeare in Love: A Screenplay 277 exemplaire(s), 4 critiques
Lord Malquist & Mr Moon 222 exemplaire(s), 1 critique
Hapgood 176 exemplaire(s), 6 critiques
Indian Ink 174 exemplaire(s), 3 critiques
Voyage: The Coast of Utopia, Part I 157 exemplaire(s), 3 critiques
Night and Day 153 exemplaire(s), 2 critiques
Shipwreck: The Coast of Utopia, Part II 130 exemplaire(s), 3 critiques
Salvage: The Coast of Utopia, Part III 119 exemplaire(s), 1 critique
Rosencrantz & Guildenstern are Dead [1990 film] (Directeur) 106 exemplaire(s), 1 critique
L'Empire du soleil (Empire of the Sun) (Screenwriter) 102 exemplaire(s), 3 critiques
Dogg's Hamlet, Cahoot's Macbeth 100 exemplaire(s), 2 critiques
Enter a Free Man 95 exemplaire(s), 1 critique
Anna Karenina [2012 film] (Screenwriter) 93 exemplaire(s), 2 critiques
On the Razzle 92 exemplaire(s), 1 critique
Tom Stoppard Plays 4 91 exemplaire(s)
After Magritte 60 exemplaire(s)
Rough Crossing 58 exemplaire(s)
The Hard Problem 58 exemplaire(s), 1 critique
Enigma [2001 film] (Screenwriter) 53 exemplaire(s), 2 critiques
Albert's Bridge and Other Plays 49 exemplaire(s), 1 critique
La Maison Russie (The Russia House) (Screenwriter) 49 exemplaire(s)
Leopoldstadt 40 exemplaire(s), 3 critiques
Parade's End [2012 TV mini-series] 35 exemplaire(s), 1 critique
Albert et son pont 30 exemplaire(s)
In the Native State 28 exemplaire(s)
Squaring the Circle 28 exemplaire(s)
If You're Glad I'll be Frank 27 exemplaire(s), 1 critique
Stoppard: The Plays for Radio 1964-1983 25 exemplaire(s), 1 critique
Four Plays for Radio 22 exemplaire(s)
Parade's End 21 exemplaire(s)
Tulip Fever [2017 film] (Screenwriter) 19 exemplaire(s), 1 critique
Darkside 12 exemplaire(s)
Despair [1978 film] (Screenwriter) 12 exemplaire(s), 3 critiques
A Separate Peace 12 exemplaire(s)
Billy Bathgate [1991 film] (Screenwriter) 10 exemplaire(s)
Poodle Springs [1998 film] (Writer) 7 exemplaire(s)
Professional Foul 6 exemplaire(s)
Tom Stoppard Radio Plays 5 exemplaire(s)
The Boundary 4 exemplaire(s)
Where Are They Now? 4 exemplaire(s)
Galileo 3 exemplaire(s)
The Dog It Was That Died 2 exemplaire(s)
The Hard Problem [theatre programme] (Contributeur) 2 exemplaire(s)
New-Found-Land 1 exemplaire
Neutral Ground 1 exemplaire
Dogg's Hamlet 1 exemplaire
Travesties [theatre programme] (Contributeur) 1 exemplaire
Dirty Linen 1 exemplaire
Teeth 1 exemplaire
Tm Oyunlar II 1 exemplaire
Parade's End 1 exemplaire
Cahoot's Macbeth 1 exemplaire
La Cerisaie (Adapter, quelques éditions) 1,788 exemplaire(s), 25 critiques
La Mouette (Traducteur, quelques éditions) 1,001 exemplaire(s), 15 critiques
The Pleasure of Reading (Contributeur) 177 exemplaire(s), 7 critiques
Henry IV (Traducteur, quelques éditions) 172 exemplaire(s), 5 critiques
Masterpieces of the Drama (Contributeur) 166 exemplaire(s), 2 critiques
Nine Plays of the Modern Theater (Contributeur) 163 exemplaire(s), 1 critique
Counting My Chickens . . .: And Other Home Thoughts (Introduction) 152 exemplaire(s), 2 critiques
Ivanov (quelques éditions) 151 exemplaire(s), 6 critiques
Largo Desolato (Traducteur, quelques éditions) 132 exemplaire(s), 1 critique
Know the Past, Find the Future: The New York Public Library at 100 (Contributeur) 111 exemplaire(s), 3 critiques
Granta 119: Britain (Contributeur) 101 exemplaire(s)
Undiscovered Country (Traducteur, quelques éditions) 63 exemplaire(s), 1 critique
What's Your Story? [postcard collection] (Contributeur) 57 exemplaire(s), 3 critiques
Modern and Contemporary Drama (Contributeur) 41 exemplaire(s), 1 critique
Doing It: Five Performing Arts (Contributeur) 18 exemplaire(s)
Contemporary one-act plays (Contributeur) 15 exemplaire(s)
The Best Plays Theater Yearbook 2007-2008 (Contributeur) 5 exemplaire(s), 1 critique

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Tom Stoppard a 4 évènements passés. (show)

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Tom Stoppard was born Tomáš Straussler to a Jewish family in Zlín, Czechoslovakia. With their parents Eugen Straussler, a doctor employed by the Bata shoe company, and Martha Becková, he and his brother fled the country in 1939 to escape Nazi occupation. \The family went to Singapore, where Bata had a factory. Tom, his mother and brother fled to Australia in 1941. Tom spent three years in a boarding school in Darjeeling, India. In 1945, his mother married Kenneth Stoppard. Tom attended the Dolphin School in Nottinghamshire, and later Pocklington School in Yorkshire. He left school at age 17 and began working as a journalist for the Western Daily Press in Bristol. IHe also wrote short radio plays and in 1960, moved to London and launched himself as a playwright with A Walk on the Water, later re-titled Enter a Free Man.
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