Stoppard seems unusually gifted at writing plays with dialogue that bounces (pick any two interpretations of that word, at least). I've not seen nor read Travesties yet. (My introduction to his work was Rosencranz and Guildenstern Are Dead, for a high school English class, and I was quoting from it for a few years after reading it.) Then when I first saw the movie version, the language hit me all over again.
If my comment with an error doesn't have any comments attached to it yet, I'll just delete my comment and post a new, corrected version. I do this all the time in my own journal. But I try to avoid doing it with my comments to other people's journals so they won't get repeated announcements about new comments.
As to why I'm at this journal entry today, that (modified LJ) script I mentioned last night spat out lots of category lists of people's memories, and some looked interesting. Henceforth it will just be spitting out changes.
The only other full-length Stoppard play that I've seen is Arcadia. I don't recall any outstanding language tricks, although I do remember some plays on words. What really struck me was the parallel, interwoven tales of people living in two different centuries (1800s and "present day"), but in the same physical setting. The present day characters at times misinterpreted history due to unrecorded details in the 1800s characters' lives, yet they had knowledge of events still in the future for the 1800s characters, leading to an interesting mix of humor and foreshadowing. I loved seeing the two perspectives in time, and I found the story heartbreakingly beautiful.
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edit comments -- sorta
As to why I'm at this journal entry today, that (modified LJ) script I mentioned last night spat out lots of category lists of people's memories, and some looked interesting. Henceforth it will just be spitting out changes.
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