Comedians Trevor Griffiths Essays

Comedians Trevor Griffiths Essays-34
The two Straussler scions assumed their stepfather’s surname, which was Stoppard.Thomas, who claims to have spoken only Czech until the age of three, or possibly five and a half (he does not seem quite sure which), grew up to become, by the early nineteen-seventies, one of the two or three most prosperous and ubiquitously adulated playwrights at present bearing a British passport. I have seen the play on stage, and have read the script, and would recommend others to do the same, as the cuts made for TV - probably for time - includes dialogue which I think is crucial to a full understanding of the piece. And what he sees is a sort of truth about people, about their situation, about what hurts or terrifies them, about what's hard, above all about what they want." "A joke releases the tension, says the unsayable, any joke pretty well.

The two Straussler scions assumed their stepfather’s surname, which was Stoppard.Thomas, who claims to have spoken only Czech until the age of three, or possibly five and a half (he does not seem quite sure which), grew up to become, by the early nineteen-seventies, one of the two or three most prosperous and ubiquitously adulated playwrights at present bearing a British passport. I have seen the play on stage, and have read the script, and would recommend others to do the same, as the cuts made for TV - probably for time - includes dialogue which I think is crucial to a full understanding of the piece. And what he sees is a sort of truth about people, about their situation, about what hurts or terrifies them, about what's hard, above all about what they want." "A joke releases the tension, says the unsayable, any joke pretty well.

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“Jumpers,” a play by Tom Stoppard, whose other works include “Rosencrantz and Guildenstern Are Dead,” “Travesties,” and “Dirty Linen,” a man carrying a tortoise in one hand and a bow and arrow in the other, his face covered with shaving cream, opens the door of his apartment.

Standing outside is a police inspector bearing a bouquet of flowers.

(One of the characters, discounting the hypothesis that the man was blind, scornfully inquires whether it was a seeing-eye tortoise.) There is also a perfectly rational, though much longer, explanation for this.

In “The Language of Theatre,” an address delivered by the same author in January, 1977, at the University of California at Santa Barbara, the lecturer began by stating that he was not going to talk about the language of theatre.

There's plenty of others as'll tek your money and do the necessary.

Full text is available to Purdue University faculty, staff, and students on campus through this site. Off-campus Purdue users may download theses and dissertations by logging into the Libraries' proxy server with your Purdue Career Account.

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(The other contenders are Harold Pinter, who probably has the edge in adulation, and Peter Shaffer, the author of “Equus,” whose strong point is prosperity.) There is no perfectly rational explanation for any of this. Preliminary notes from my journal, dated July 24, 1976: Essential to remember that Stoppard is an émigré.

A director who has staged several of his plays told me the other day, “You have to be foreign to write English with that kind of hypnotized brilliance.” An obvious comparison is with Vladimir Nabokov, whom Stoppard extravagantly admires.

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