Drama on Drama pp 136-151 | Cite as

Tom Stoppard’s Metadrama: The Haunting Repetition

  • Nicole Boireau


Steering a bold course away from naturalistic representational conventions and resolutely opting for the fictional and the literary, Tom Stoppard has developed his own idiosyncratic brand of metadrama. Following René Magritte’s comment that the apple represented on the canvas ‘is not an apple’ but its image, Stoppard’s plays never fail to advertise that whatever is represented on stage looks like theatre and is first and foremost theatre.


Real Thing Grand Narrative Literary Discourse Mirror Process Time Literary Supplement 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.


  1. Aristote, Poétiaue (Paris: Seuil, 1980).Google Scholar
  2. Boireau, Nicole, ‘Marginalizing the Centre: The Case of Tom Stoppard’, in: Bernhard Reitz (ed), Centres and Margins (Trier: Wissenschaftlicher Verlag, 1995), pp. 99–108.Google Scholar
  3. Brassell, Tim, Tom Stoppard: An Assessment (London: Macmillan, 1985).Google Scholar
  4. Brugière, Bernard, ‘De la parodie à une esthétique de la duplication: etude de Travesties de Tom Stoppard’, in: Georges Bas (ed), Etudes Anglaises, Cahiers et Documents 6 (Paris: Didier Erudition, 1983), pp. 141–54.Google Scholar
  5. Cohn, Ruby, Retreats from Realism in Recent English Drama (Cambridge University Press, 1991).Google Scholar
  6. Cooke, John William, ‘The Optical Allusion: Perception and Form in Stoppard’s Travesties’, in: Zeifmann and Zimmerman (eds), Contemporary British Drama (London: Macmillan, 1993), pp. 199–216.Google Scholar
  7. Damasio, Antonio, L’erreur de Descartes: La raison des émotions (Paris: Odile Jacob, 1995).Google Scholar
  8. Delaney, Paul, Tom Stoppard: The Moral Vision of the Major Plays (London: Macmillan, 1990).Google Scholar
  9. Deleuze, Gilles, Différence et répétition (Paris: PUF, 1968).Google Scholar
  10. Derrida, Jacques, Marges de la philosophie (Paris: Seuil, 1972).Google Scholar
  11. Derrida, Jacques, La carte postale de Socrate à Freud et au-delà (Paris: Aubier-Flammarion, 1980).Google Scholar
  12. Edgar, David. ‘Back to Narrative: Popular Influence on Playwrights of the 1990s’. The Times Literary Supplement, 28 April 1995), p. 7.Google Scholar
  13. Frye, Northrop, Anatomy of Criticism (Princeton University Press, 1973).Google Scholar
  14. Felman, Shoshana, Le scandale du corps parlant (Paris: Seuil, 1980).Google Scholar
  15. Hayman, Ronald, Tom Stoppard (London: Heinemann, 1978).Google Scholar
  16. Homan, Sidney, The Audience as Actor and Character: The Modern Theater of Beckett, Brecht, Genet, lonesco, Pinter, Stoppard and Williams (London & Toronto: Associated University Press, 1989).Google Scholar
  17. James, Clive. ‘Count Zero splits the Infinite’, Encounter, 45, 1975, pp. 68–76.Google Scholar
  18. Panofsky, Erwin, Meaning in the Visual Arts (London: Penguin Books, 1983).Google Scholar
  19. Panofsky, Erwin, Perspective as Symbolic Form (New York: Zone Books, 1991).Google Scholar
  20. Phelan, Peggy, Unmarked: The Politics of Performance (London: Routledge, 1993).CrossRefGoogle Scholar
  21. Reinelt-Keyssar-Franke, Helen, ‘The Strategy of Rosencrantz and Guildenstern Are Dead’, Educational Theatre Journal, 27, 1975, pp. 85–97.CrossRefGoogle Scholar
  22. Rosenberg, Harold, The Tradition of the New (Chicago & London: Phoenix Edition, 1982).Google Scholar
  23. Rosenberg, Harold, The De-definition of Art (Chicago Press, 1983).Google Scholar
  24. Rosset, Clément, Le réel et son double: Essai sur l’illusion (Paris: Gallimard, 1976).Google Scholar
  25. Rosenberg, Harold, L’objet singulier (Paris: Editions de Minuit, 1979).Google Scholar
  26. Stoppard, Tom, Rosencrantz and Guildenstern Are Dead (London: Faber & Faber, 1967).Google Scholar
  27. Rosenberg, Harold, The Real Inspector Hound (London: Faber & Faber, 1970).Google Scholar
  28. Rosenberg, Harold, Jumpers (London: Faber & Faber, 1972).Google Scholar
  29. Rosenberg, Harold, Travesties (London: Faber & Faber, 1975).Google Scholar
  30. Rosenberg, Harold, Dogg’s Hamlet, Cahoot’s Macbeth (London: Faber & Faber, 1980).Google Scholar
  31. Rosenberg, Harold, The Real Thing (London: Faber & Faber, 1983).Google Scholar
  32. Rosenberg, Harold, Hapgood (London: Faber & Faber, 1988).Google Scholar
  33. Rosenberg, Harold, In the Native State (London: Faber & Faber, 1991).Google Scholar
  34. Rosenberg, Harold, Arcadia (London: Faber & Faber, 1993)Google Scholar
  35. Rosenberg, Harold, Indian Ink (London: Faber & Faber, 1995).Google Scholar
  36. Vanden Heuvel, Michael, Performing Drama / Dramatizing Performance: Alternative Theater and the Dramatic Text (Ann Arbor: the University of Michigan Press, 1991).Google Scholar
  37. Wilde, Oscar, ‘The Truth of Masks’, The Complete Works of Oscar Wilde (London: Collins, 1988).Google Scholar
  38. Yates, Frances, The Art of Memory (London: Routledge, 1992).Google Scholar
  39. Zeifman, Hersh, ‘Comedy of Ambush: Tom Stoppard’s The Real Thing’ in: Zeifman Hersh and Zimmerman, Cynthia (eds), Contemporary British Drama (London: Macmillan, 1993), pp. 217–31.Google Scholar

Copyright information

© Palgrave Macmillan, a division of Macmillan Publishers Limited 1988

Authors and Affiliations

  • Nicole Boireau

There are no affiliations available

Personalised recommendations