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Fellows Find: Scholar studies playwright Tom Stoppard’s wit

By William Demastes

Bill Demastes with Tom Stoppard outside London’s Old Vic Theatre in 2010 at the opening night of the revival of Stoppard’s “The Real Thing.”
Bill Demastes with Tom Stoppard outside London’s Old Vic Theatre in 2010 at the opening night of the revival of Stoppard’s “The Real Thing.”

Bill Demastes of Louisiana State University spent  June 2011 at the Ransom Center on a fellowship reviewing material from various collections, including the Tom Stoppard papers, for his forthcoming book, The Cambridge Introduction to Tom Stoppard. Demastes’s fellowship was funded by the Andrew W. Mellon Foundation Research Endowment.

When playwright Tom Stoppard’s name comes up in conversation, most people will recognize him (with a little help) as the author of Rosencrantz and Guildenstern Are Dead and the (co)author of the award-winning movie Shakespeare in Love. People who follow live theater will recognize him as perhaps the most important (certainly the most successful) playwright alive today, a man who over the past five decades has dazzled the stage with such hits as Rosencrantz and Guildenstern Are Dead (his 1960s breakthrough play), Travesties, Jumpers, The Real Thing, Hapgood, Arcadia, and The Coast of Utopia. He is a word master, wit, comic genius, a man who juggles thought with feeling and provides rich entertainments that generate intellectual resonances for his audiences well after the theater goes dark.

I have been working on The Cambridge Introduction to Tom Stoppard (Cambridge University Press) for the past few years, increasingly realizing that no one short of Stoppard himself could capture the heart of Stoppard’s theater. When that point finally crystallized in my mind, I determined to come to the Ransom Center, home of the Tom Stoppard papers, looking for Stoppard’s own words to incorporate into my book. Over the month that I spent combing through letters, interviews, essays, and speeches, I found gem after gem. Throughout his writings, Stoppard uses peacocks crossing highways, fairies flitting over ponds, men listening to jazz on a radio, a bookstore, landscape gardening, a coin toss, tales from Wittgenstein and Feynman, a love of slapstick, rock-n-roll, and so much more unlikely material to illuminate such complexities as postmodernism, cognitive psychology, determinism, existentialism, nonlinear dynamics, particle physics, and love. Having so much of Stoppard’s writings in a center dedicated to preserving the written word in all its manifestations has made my job infinitely easier. It is for that that I thank the Ransom Center.

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