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
Theater in New York is nearer to the street. In London, you have to go deep into the building, usually, to reach the place where theater happens. On Broadway, only the fire doors separate you from the sidewalk, and you're lucky if the sound of a police car doesn't rip the envelope twice a night.
It's so great in the theater when everyone catches up on the truth.
Theater is a recreation. It can be much more, but unless it's recreation, I don't see the point of it.
To be 64 is appalling, so what does it matter being 65?
When Auden said his poetry didn't save one Jew from the gas chamber, he'd said it all.
Why should I write a play? I don't have to write a play, do I? But somehow, I think that's what I'm here for, so I'd better do it.
To be in love with Debo Devonshire is hardly a distinction.
With plays that require any kind of reading program, I'm reading for a couple of years before using the material.
I don't respond well to the Olympic noise, which is the noise of nationalistic triumphalism.
With his earliest work he stood alone in British theatre up against the bewilderment and incomprehension of critics, the audience and writers too.
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.
You end up going to school plays quite a bit as a parent, there are a lot of kids who are doing the job as well as they can, but there's always one or two who seem much more at home in the world of impersonation.
Everybody I know is writing plays twice a year. It's sort of making me feel I am not up to much.
You are the plays you write. How on earth could you write them otherwise? They're projections of your own predilections.