Tom Stoppard
Tom Stoppard
Sir Tom Stoppard OM CBE FRSLis a British playwright and screenwriter, knighted in 1997. He has written prolifically for TV, radio, film and stage, finding prominence with plays such as Arcadia, The Coast of Utopia, Every Good Boy Deserves Favour, Professional Foul, The Real Thing, and Rosencrantz and Guildenstern Are Dead. He co-wrote the screenplays for Brazil, The Russia House, and Shakespeare in Love, and has received one Academy Award and four Tony Awards. Themes of human rights, censorship and...
NationalityEnglish
ProfessionPlaywright
Date of Birth3 July 1937
CityZlin, Czech Republic
The thing about talking about human rights is that when one bears in mind the sharp end of it, one does not want to worry too much about semantics.
Very often in Chekhov, where he exhibits a little bit of human behavior that you recognize as true, you give a little laugh. It's like a reflex.
That I have the right to express myself freely at all times in all circumstances entails the idea that free speech is a 'basic human right' possessed by each individual, and, as such, trumps the interests of the society or group, including my neighbour.
I think... the history of civilization is an attempt to codify, classify and categorize aspects of human nature that hardly lend themselves to that process.
The idea that being human and having rights are equivalent - that rights are inherent - is unintelligible in a Darwinian world.
It is easily and often overlooked that when Thomas Jefferson asserted that life, liberty and the pursuit of happiness were inalienable human rights, he did so on the ground that they had been endowed by God, our Creator.
For me, human rights simply endorse a view of life and a set of moral values that are perfectly clear to an eight-year-old child. A child knows what is fair and isn't fair, and justice derives from that knowledge.
I want to support the whole idea of the humanities and teaching the humanities as being something that - even if it can't be quantitatively measured as other subjects - it's as fundamental to all education.
The results of the divorce between truth and human beings can be most graphically observed in politics.
The sense of suppression, ... or self-suppression, and pressure generally which came off even this photograph of the page of this diary was so strong and so moving. There was a love story here.
The whole thing about writing a play is that it's all about controlling the flow of information traveling from the stage to the audience. It's a stream of information, but you've got your hand on the tap, and you control in which order the audience receives it and with what emphasis, and how you hold it all together.
Schepisi is the sort of director who could, would, and frequently did phone me whenever he came across a textual problem.
Quite early on, and certainly since I started writing, I found that philosophical questions occupied me more than any other kind. I hadn't really thought of them as being philosophical questions, but one rapidly comes to an understanding that philosophy's only really about two questions: 'What is true?' and 'What is good?'
Other people's lives come at us without a backstory most of the time. The present is like that.