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Travesties: [a Play]
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Kurzbeschreibung
"Travesties" ws born out of Stoppard's noting that in 1917 three of the twentieth century's most crucial revolutionaries -- James Joyce, the Dadaist founder Tristan Tzara, and Lenin -- were all living in Zurich. Also living in Zurich at this time was a British consula official called Henry Carr, a man acquainted with Joyce through the theater and later through a lawsuit concerning a pair of trousers. Taking Carr as his core, Stoppard spins this historical coincidence into a masterful and riotously funny play, a speculative portrait of what could have been the meeting of these profoundly influential men in a germinal Europe as seen through the lucid, lurid, faulty, and wholy riveting memory of an aging Henry Carr.
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Einleitungssatz
The play is set in Zurich, in two locations: the drawing room of Henry Carr's apartment ('THE ROOM'), and a section of the Zurich Public Library('THE LIBRARY'). Lesen Sie die erste Seite
Buchdeckel | Copyright | Auszug | Rückseite
The play is set in Zurich, in two locations: the drawing room of Henry Carr's apartment ('THE ROOM'), and a section of the Zurich Public Library('THE LIBRARY'). Lesen Sie die erste Seite
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Format:Taschenbuch
Tom Stoppard was clearly showing off when he wrote "Travasties". In his research he cleverly discovered that V.I. Lenin, James Joyce (then young and in the midst of writing Ulysses), and Tristan Tzara, one of the leaders of the dadist movement, were living in Zurich simultaneously. Teamed up with Gwendolen and Cecily, two characters from Oscar Wilde's "The Importance of Being Ernest", and Henry Carr, a former member of the British Counsular Service, Stoppard wrote a theoretical account of their interactions in 1917. The result is "Travasties", a wildly intelligent and humorous play.
The play is set in the faulty memory of Henry Carr as he reminices about his experiences in Zurich (yes, he was there too) during "The Great War". As it was, Henry Carr, a non-fictional historical figure, played the role of Algernon in "The Importance of Being Ernest" in a play company owned by James Joyce. When James Joyce refused to reimburse Carr for the few hundred pounds he spent on his trousers in his overzealous attempt to "become" Algernon, a lawsuit ensued, which Joyce ultimately won. Indeed, Joyce indeed attained total victory by writing Carr into Ulysses as a drunken soldier. So, as one might imagine, the play is full of small stabs at James Joyce, namely by the elder Carr (at present during the play it is 1972).
The integration of Lenin and his wife, as well as Cecily, Gwendolen and Tzara, is fantastic and extremely immaginative, and the experience would, no doubt, be enhanced by first reading all of the works alluded to in the play.
Despite Tom Stoppard's obvious attempt to promote his own genius in "Travasties", the outcome is so fantastic, so interesting, and so, honestly, funny, that all is forgiven. Travasties is 71 pages long, and a reasonably quick read... spend one afternoon curled up with it, see it if you can, and muse over the connections (but not too loudly with the "aha!"s) you find... and I hate to end a review so blandly, but enjoy.
Format:Taschenbuch
The play is based upon the curious fact that Joyce, Lenin and Tristan Tzara had been staying in Zurich at the same time and possibly saw each other occasionally. However the interesting part of the play is that it is not trying to realistically depict the 3 heroes, rather stereotypical images of those three are displayed. The play is circulating around Henry Carr (he appears as a secondary character in Ulysses - yes, the one that knocked Steven down in the Night Town scene), who (according to Ellmann's bio of JAJ) was playing the leading role in the "Importance of being earnest", a production of English Theater Company temporarily administrated by Joyce.
Format:Taschenbuch
A witty and comic two-act play involving characters from history: Lenin, the leader of the Russian Communist Revolution; James Joyce, an Irish poet; Tristan Tzara, the Romanian founder of Dada; and Henry Carr, a man who had associations with Joyce. The play is told from Carr's point of view when he is an old man, and because memory often fails him in his old age, he has to retell certain parts, meaning that we get to see different reenactments of the same scene. Although it may sound repetitive, it not in the least dull, as each retelling is a little bit different. We see Carr's confusion as he struggles to retell the past correctly. Highly amusing. It helps to have some historical knowledge of Stoppard's characters in order to find the humor in the play.
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