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For his third major play, Travesties, Stoppard borrowed plot from Oscar Wilde's The Importance of Being Earnest and adopted as his characters historical figures like Joyce, Tzara and Lenin. Such arrangement inevitably invited many critical interpretations, and so far, it seems, formalistic approaches to the work which lay more emphasis on formal aspects form the critical majority. Travesties no doubt provides abundant evidence for this kind of reading with its overtly self-conscious artificiality, foregrounded not only by the borrowed plot and innumerable literary styles, but also by the unmistakable structural concern even to the details. The problem with these approaches, however, is that they ignore plenty of evidences which disprove their arguments.
Stoppard's juggling of the word, 'dada,' in a way epitomizes Stoppard's way of treating his ideas. As he is toying with several meanings of the word, Stoppard's point seems to be juggling for its own sake. Underneath the comic facade, however, lies Stoppard's serious message in that the exploded meanings of `dada' converges on the all important meaning of "Yes" in Joyce's Ulysses.
As for Stoppard's treatment of Tzara and Lenin, a similar tactics persists. It is true that each character is presented in roughly equal proportion in Travesties. On the surface, therefore, the different views held by different characters seem to be presented fairly and objectively. A closer look, however, will prove that it is not the case, as the seemingly objective presentation of different contentions is incessantly betrayed by the way it is colored by the author's subtle but deliberate efforts to direct our sympathy.
In Travesties what Tzara says does not convey the Dada spirit at all, and what he does invariably works in such a way that commonly-held stereotypical prejudice against Dadaism will be reinforced. This is particularly because he is presented cut off from the due historical context where Dadaism should be placed. The situation does not turn for the better with Lenin. Stoppard uses historical episodes and comments concerning Lenin, but arranges them in such a way that Lenin's own contention is totally dismantled by none other than his own argument. So despite the seemingly authentic presentation, it can be said, Lenin in Travesties is rigorously manipulated into someone Stoppard perceives him to be. And Stoppard's implicit treatment of Tzara and Lenin to negative effect seems to testify Stoppard's disapproval of revolutionaries whether in art or in politics.
Stoppard's juggling of the word, 'dada,' in a way epitomizes Stoppard's way of treating his ideas. As he is toying with several meanings of the word, Stoppard's point seems to be juggling for its own sake. Underneath the comic facade, however, lies Stoppard's serious message in that the exploded meanings of `dada' converges on the all important meaning of "Yes" in Joyce's Ulysses.
As for Stoppard's treatment of Tzara and Lenin, a similar tactics persists. It is true that each character is presented in roughly equal proportion in Travesties. On the surface, therefore, the different views held by different characters seem to be presented fairly and objectively. A closer look, however, will prove that it is not the case, as the seemingly objective presentation of different contentions is incessantly betrayed by the way it is colored by the author's subtle but deliberate efforts to direct our sympathy.
In Travesties what Tzara says does not convey the Dada spirit at all, and what he does invariably works in such a way that commonly-held stereotypical prejudice against Dadaism will be reinforced. This is particularly because he is presented cut off from the due historical context where Dadaism should be placed. The situation does not turn for the better with Lenin. Stoppard uses historical episodes and comments concerning Lenin, but arranges them in such a way that Lenin's own contention is totally dismantled by none other than his own argument. So despite the seemingly authentic presentation, it can be said, Lenin in Travesties is rigorously manipulated into someone Stoppard perceives him to be. And Stoppard's implicit treatment of Tzara and Lenin to negative effect seems to testify Stoppard's disapproval of revolutionaries whether in art or in politics.
목차
Ⅰ. Introduction
Ⅱ. Formalistic Approaches to Travesties
Ⅲ. Tzara and Lenin in Travesties
Ⅳ. Conclusion
Works Cited
Abstract
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