Travesties | The Art of History in Tom Stoppard's Travesties
In the following essay, Billman asserts that Travesties ''extends the discussion of art and the artist's social responsibilities to include history."
In his profile of Tom Stoppard for the New Yorker, Kenneth Tynan, pursuing a biblical distinction, divides contemporary British dramatists into two camps:
On one side were the hairy men—heated, embattled, socially committed playwrights, like John Osborne, John Arden, and Arnold Wesker, who had come out fighting in the late fifties. On the other side were the smooth men—cool, apolitical stylists, like Harold Pinter, the late Joe Orton, Christopher Hampton, Alan Ayckbourn …, Simon Gray, and Stoppard.
Stoppard himself said in 1974, "I...
[The entire page is 2908 words long]
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