Skip to main content Accessibility help
×
Hostname: page-component-8448b6f56d-cfpbc Total loading time: 0 Render date: 2024-04-23T18:55:03.862Z Has data issue: false hasContentIssue false

Further Reading

Published online by Cambridge University Press:  09 June 2021

David Kornhaber
Affiliation:
University of Texas, Austin
James N. Loehlin
Affiliation:
University of Texas, Austin
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

The Coast of Utopia Trilogy. London: Faber & Faber, 2008.Google Scholar
Darkside. London: Faber & Faber, 2013.Google Scholar
Enter a Free Man. London: Faber & Faber, 1969.Google Scholar
Every Good Boy Deserves Favour and Professional Foul. New York: Grove Press, 1978.Google Scholar
The Gamblers. One-act version, 1960; two-act version, 1965. Drafts located in Boxes 10 and 67 of the Harry Ransom Center’s collection of Stoppard’s papers.Google Scholar
The Hard Problem. London: Faber & Faber, 2015.Google Scholar
The Invention of Love. London: Faber & Faber, 1997.Google Scholar
Ivanov. A new English version of Anton Chekhov’s Ivanov. London: Faber & Faber, 2008.Google Scholar
Jumpers. 1972. London: Faber & Faber, 1986. (New edition following from 1984 London revival)Google Scholar
Largo Desolato. English translation of a play by Václav Havel. London: Faber & Faber, 1987.Google Scholar
Leopoldstadt. London: Faber & Faber, 2020.Google Scholar
Lord Malquist and Mr Moon. 1966. London: Faber & Faber, 2005.Google Scholar
Pirandello’s Henry IV. London: Faber & Faber, 2004.Google Scholar
Plays 1 (The Real Inspector Hound, After Magritte, Dirty Linen, New-Found-Land, Dogg’s Hamlet, Cahoot’s Macbeth). London: Faber & Faber, 1996. (Also published as The Real Inspector Hound and Other Entertainments by Faber & Faber and Grove Press.)Google Scholar
Plays 2 (In the Native State, The Dissolution of Dominic Boot, ‘M’ Is for Moon Among Other Things, If You’re Glad I’ll Be Frank, Albert’s Bridge, Where Are They Now?, Artist Descending a Staircase, The Dog It Was That Died, On ‘Dover Beach’). London: Faber & Faber, 1997.Google Scholar
Plays 3 (A Separate Peace, Teeth, Another Moon Called Earth, Neutral Ground, Professional Foul, Squaring the Circle). London: Faber & Faber, 1998.Google Scholar
Plays 4 (Dalliance, Undiscovered Country, Rough Crossing, On the Razzle, The Seagull). London: Faber & Faber, 1999.Google Scholar
Plays 5 (Arcadia, The Real Thing, Night & Day, Indian Ink, Hapgood). London: Faber & Faber, 1999.Google Scholar
Rock ’n’ Roll. London: Faber & Faber, 2008.Google Scholar
Rosencrantz and Guildenstern Are Dead. London: Faber & Faber, 1973.Google Scholar
Travesties. 1974. London: Faber & Faber, 2016. (New edition following from 2016 London revival.)Google Scholar

Secondary Sources

Anna Karenina. Directed by Joe Wright. 2012. Screenplay published by Grove Press, 2012.Google Scholar
Brazil. Co-written with Terry Gilliam and Charles McKeown. Directed by Gilliam. 1985. Screenplay published in Mathews, Jack. The Battle of Brazil: Terry Gilliam v. Universal Pictures in the Fight to the Final Cut. New York: Applause, 1998.Google Scholar
Despair. Directed by Rainer Werner Fassbinder. 1978.Google Scholar
Empire of the Sun. Directed by Steven Spielberg. 1987.Google Scholar
Enigma. Directed by Michael Apted. 2001.Google Scholar
The Human Factor. Directed by Otto Preminger. 1979.Google Scholar
Parade’s End. Television miniseries. 2012. Screenplay published by Grove Press, 2013.Google Scholar
Poodle Springs. Television miniseries. 1998.Google Scholar
Rosencrantz and Guildenstern Are Dead. Also director. 1990. Screenplay published by Faber & Faber, 1991.Google Scholar
The Russia House. Directed by Fred Schepisi. 1990.Google Scholar
Shakespeare in Love. Co-written with Marc Norman. Directed by John Madden. 1998. Screenplay published by Hyperion, 1998.Google Scholar
Three Men in a Boat. Directed by Stephen Frears. 1975.Google Scholar
Tulip Fever. Directed by Justin Chadwick. 2017.Google Scholar
Always. Written by Jerry Belson and Diane Thomas. Directed by Steven Spielberg. 1989.Google Scholar
Chaplin. Written by William Boyd, Bryan Forbes, and William Goldman. Directed by Richard Attenborough. 1992.Google Scholar
Indiana Jones and the Last Crusade. Written by Jeffrey Boam. Directed by Steven Spielberg. 1989.Google Scholar
Medicine Man. Written by Tom Schulman and Sally Robinson. Directed by John McTiernan. 1992.Google Scholar
Schindler’s List. Written by Steven Zaillian. Directed by Steven Spielberg. 1993.Google Scholar
Sleepy Hollow. Written by Andrew Kevin Walker. Directed by Tim Burton. 1999.Google Scholar
A.O.P. Original screenplay idea by Stoppard. 1984.Google Scholar
Cats. Adaptation of the musical by Andrew Lloyd Webber, based on T. S. Eliot’s Old Possum’s Book of Practical Cats. 1994.Google Scholar
The Frog Prince. Adaptation of the short story by John Collier. 1976.Google Scholar
Galileo. Adaptation of the 1947 film of Bertolt Brecht’s play directed by Charles Laughton. 1971.Google Scholar
The Golden Compass. Adaptation of the first novel in Philip Pullman’s His Dark Materials Trilogy. 2003.Google Scholar
Hopeful Monsters. Adaptation of the book by Nicholas Mosely. 1993–1995.Google Scholar
Innocent Blood. Adaptation of the book by P. D. James. 1981.Google Scholar
Naked Without a Gun. Adaptation of David Hare’s play Knuckle. 1974–1975.Google Scholar
Anna Karenina. Directed by Joe Wright. 2012. Screenplay published by Grove Press, 2012.Google Scholar
Brazil. Co-written with Terry Gilliam and Charles McKeown. Directed by Gilliam. 1985. Screenplay published in Mathews, Jack. The Battle of Brazil: Terry Gilliam v. Universal Pictures in the Fight to the Final Cut. New York: Applause, 1998.Google Scholar
Despair. Directed by Rainer Werner Fassbinder. 1978.Google Scholar
Empire of the Sun. Directed by Steven Spielberg. 1987.Google Scholar
Enigma. Directed by Michael Apted. 2001.Google Scholar
The Human Factor. Directed by Otto Preminger. 1979.Google Scholar
Parade’s End. Television miniseries. 2012. Screenplay published by Grove Press, 2013.Google Scholar
Poodle Springs. Television miniseries. 1998.Google Scholar
Rosencrantz and Guildenstern Are Dead. Also director. 1990. Screenplay published by Faber & Faber, 1991.Google Scholar
The Russia House. Directed by Fred Schepisi. 1990.Google Scholar
Shakespeare in Love. Co-written with Marc Norman. Directed by John Madden. 1998. Screenplay published by Hyperion, 1998.Google Scholar
Three Men in a Boat. Directed by Stephen Frears. 1975.Google Scholar
Tulip Fever. Directed by Justin Chadwick. 2017.Google Scholar
Always. Written by Jerry Belson and Diane Thomas. Directed by Steven Spielberg. 1989.Google Scholar
Chaplin. Written by William Boyd, Bryan Forbes, and William Goldman. Directed by Richard Attenborough. 1992.Google Scholar
Indiana Jones and the Last Crusade. Written by Jeffrey Boam. Directed by Steven Spielberg. 1989.Google Scholar
Medicine Man. Written by Tom Schulman and Sally Robinson. Directed by John McTiernan. 1992.Google Scholar
Schindler’s List. Written by Steven Zaillian. Directed by Steven Spielberg. 1993.Google Scholar
Sleepy Hollow. Written by Andrew Kevin Walker. Directed by Tim Burton. 1999.Google Scholar
A.O.P. Original screenplay idea by Stoppard. 1984.Google Scholar
Cats. Adaptation of the musical by Andrew Lloyd Webber, based on T. S. Eliot’s Old Possum’s Book of Practical Cats. 1994.Google Scholar
The Frog Prince. Adaptation of the short story by John Collier. 1976.Google Scholar
Galileo. Adaptation of the 1947 film of Bertolt Brecht’s play directed by Charles Laughton. 1971.Google Scholar
The Golden Compass. Adaptation of the first novel in Philip Pullman’s His Dark Materials Trilogy. 2003.Google Scholar
Hopeful Monsters. Adaptation of the book by Nicholas Mosely. 1993–1995.Google Scholar
Innocent Blood. Adaptation of the book by P. D. James. 1981.Google Scholar
Naked Without a Gun. Adaptation of David Hare’s play Knuckle. 1974–1975.Google Scholar
Delaney, Paul (ed.). Tom Stoppard in Conversation. Ann Arbor: University of Michigan Press, 1994.Google Scholar
Gussow, Mel. Conversations with Stoppard. London: Nick Hern Books, 1995.Google Scholar
Lee, Hermione. Tom Stoppard: A Life. London: Faber & Faber, 2020.Google Scholar
Nadel, Ira. Double Act: A Life of Tom Stoppard. London: Methuen, 2002. (Published in the USA as Tom Stoppard: A Life by Palgrave Macmillan).Google Scholar
Angel-Perez, Élisabeth “Stoppard’s chaomedic wit.” Sillages critiques 13 (2011), https://doi.org/10.4000/sillagescritiques.2477.CrossRefGoogle Scholar
Baker, William and Smothers, Amanda (eds.). The Real Thing’: Essays on Tom Stoppard in Celebration of His 75th Birthday. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013.Google Scholar
Baker, William and Wachs, Gerald N.. Tom Stoppard: A Bibliographical History. London: The British Library and Oak Knoll Press, 2010.Google Scholar
Bennett, Jonathan. ‘Philosophy and Mr Stoppard’. Philosophy 50 (1975): 518.CrossRefGoogle Scholar
Bhatia, Nandi. ‘Reinventing India through “A Quite Witty Pastiche”: Reading Tom Stoppard’s Indian Ink’. Modern Drama 52(2) (Summer 2009): 220237.Google Scholar
Billington, Michael. Stoppard the Playwright. London: Methuen, 1987.Google Scholar
Bull, John. Stage Right: Crisis and Recovery in British Contemporary Mainstream Theatre. New York: Macmillan, 1994.CrossRefGoogle Scholar
Campos, Lilliane. The Dialogue of Art and Science in Tom Stoppard’s Arcadia. Paris: Presses Universitaires de France, 2012.Google Scholar
Corballis, Richard. Stoppard: The Mystery and the Clockwork. New York: Methuen, 1984.Google Scholar
Delaney, Paul. Tom Stoppard: The Moral Vision of the Major Plays. New York: St Martin’s Press, 1990.Google Scholar
Demastes, William. The Cambridge Introduction to Tom Stoppard. Cambridge: Cambridge University Press, 2012.CrossRefGoogle Scholar
Doll, Mary A. ‘Stoppard’s Theatre of Unknowing’ in Acheson, James (ed.), British and Irish Drama since 1960. London: Macmillan, 1993, 117129.CrossRefGoogle Scholar
Ezell, Brice. ‘Tom Stoppard and the Darkside of Drama, Theatre, and Philosophy’. Modern Drama 63(1) (2020): 6382.CrossRefGoogle Scholar
Feldman, Alex. ‘All Wilde on the Western Front: Alan Bennett, Tom Stoppard, and the Theatre of War’. Modern Drama 54(4) (2011): 455478.Google Scholar
Fleming, John. Tom Stoppard’s Arcadia. Methuen Drama Modern Theatre Guides. London: Continuum, 2009.Google Scholar
Fleming, John. Tom Stoppard’s Theatre: Finding Order amid Chaos. Austin: University of Texas Press, 2001.Google Scholar
Gobert, R. Darren. ‘The Field of Modern Drama, or Arcadia’. Modern Drama 58(3) (2015): 285301.CrossRefGoogle Scholar
Hayman, Ronald. Tom Stoppard. 3rd ed. Totowa, NJ: Rowman and Littlefield, 1980.Google Scholar
Hockenhull, Stella. ‘Experimentation and Postheritage Contemporary TV Drama: Parade’s End’ in Leggott, James and Tadeo, Julie Anne (eds.), Upstairs and Downstairs: British Costume Drama Television from The Forsyte Saga to Downton Abbey. Lanham, MD: Rowman & Littlefield, 2015, 191204.Google Scholar
Hunter, Jim. About Stoppard: The Playwright & the Work. London: Faber & Faber, 2005.CrossRefGoogle Scholar
Hunter, Jim. Faber Critical Guides: Tom Stoppard. London: Faber & Faber, 2000.Google Scholar
Hurst, Mark. ‘“Slowing Down the Going-Away Process” – Tom Stoppard and Soviet Dissent’. Contemporary British History 30(4) (2016): 484504.CrossRefGoogle Scholar
Jenkins, Anthony. The Theatre of Tom Stoppard. 2nd ed. Cambridge: Cambridge University Press, 1989.Google Scholar
Jernigan, Daniel. ‘Tom Stoppard and “Postmodern Science”: Normalising Radical Epistemologies in Hapgood and Arcadia’. Comparative Drama 37(1) (2003): 335.CrossRefGoogle Scholar
Jernigan, Daniel. Tom Stoppard: Bucking the Postmodern. Jefferson, NC: McFarland & Co, Inc, 2012.Google Scholar
Kačer, Tomáš. New Messengers: Short Narratives in Plays by Michael Frayn, Tom Stoppard and August Wilson. Brno: Masaryk University Press, 2013.Google Scholar
Kaplan, Laurie. ‘In the Native State/Indian Ink: Footnoting the Footnotes on Empire’. Modern Drama 41(3) (1998): 337346.CrossRefGoogle Scholar
Kelly, Katherine E. (ed.). The Cambridge Companion to Tom Stoppard. Cambridge: Cambridge University Press, 2001.Google Scholar
Kelly, Katherine E. Tom Stoppard and the Craft of Comedy: Medium and Genre at Play. Ann Arbor: University of Michigan Press, 1991.Google Scholar
Kornhaber, David. ‘Nietzsche, Shaw, Stoppard: Theater and Philosophy in the British Tradition’. Philosophy and Literature 36(1) (April 2012): 7995.Google Scholar
Morra, Irene. ‘The Habit of Art: In the Beginning Was the Word.’ Modern Drama 56(3) (2013): 352373.CrossRefGoogle Scholar
Nadel, Ira. ‘Tom Stoppard: In the Russian Court’. Modern Drama 47(3) (2004): 500524.CrossRefGoogle Scholar
Phelan, Peggy. ‘Theatre and Its Mother: Tom Stoppard’s Hapgood’ in Unmarked: The Politics of Performance. New York: Routledge, 1993, 112129.Google Scholar
Powell, Kersti. ‘“Dualism Is the word”: Wave/Particle Functions in Banville and Stoppard.’ Texas Studies in Literature and Language 56(3) (2014): 326347.Google Scholar
Sammells, Neil. Tom Stoppard: The Artist as Critic. London: Palgrave Macmillan, 1988.CrossRefGoogle Scholar
Shepherd-Barr, Kirsten. ‘Mathematics and Thermodynamics in the Theater’ in Science on Stage: From Doctor Faustus to Copenhagen. Princeton: Princeton University Press, 2006, 128154.Google Scholar
Vees-Gulani, SusanneHidden Order in the ‘Stoppard Set’: Chaos Theory in the Content and Structure of Tom Stoppard’s Arcadia’. Modern Drama 42(3) (1999): 411426.CrossRefGoogle Scholar
Whitaker, Thomas R. Tom Stoppard. Macmillan Modern Dramatists. London/Basingstoke: Macmillan Press, 1983.Google Scholar
Zapkin, Philip. ‘Compromised Epistemologies: The Ethics of Historiographic Metatheatre in Tom Stoppard’s Travesties and Arcadia’. Modern Drama 59(3) (2016): 306324.CrossRefGoogle Scholar
Zeifman, Hersh. ‘A Trick of the Light: Tom Stoppard’s Hapgood and Postabsurdist Theater’ in Brater, Enoch and Cohn, Ruby (eds.), Around the Absurd: Essays on Modern and Postmodern Drama Ann Arbor: University of Michigan Press, 1990, 175201.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Further Reading
  • Edited by David Kornhaber, University of Texas, Austin, James N. Loehlin, University of Texas, Austin
  • Book: Tom Stoppard in Context
  • Online publication: 09 June 2021
  • Chapter DOI: https://doi.org/10.1017/9781108303736.039
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Further Reading
  • Edited by David Kornhaber, University of Texas, Austin, James N. Loehlin, University of Texas, Austin
  • Book: Tom Stoppard in Context
  • Online publication: 09 June 2021
  • Chapter DOI: https://doi.org/10.1017/9781108303736.039
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Further Reading
  • Edited by David Kornhaber, University of Texas, Austin, James N. Loehlin, University of Texas, Austin
  • Book: Tom Stoppard in Context
  • Online publication: 09 June 2021
  • Chapter DOI: https://doi.org/10.1017/9781108303736.039
Available formats
×