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Frases de Tom Stoppard
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Tom Stoppard é um dramaturgo e guionista inglês de origem checa.

✵ 3. Julho 1937  •  Outros nomes تام استاپارد
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Tom Stoppard: 120 citações5 Curtidas

Tom Stoppard Frases famosas

“Morte não é coisa alguma. É a ausência de presença, nada mais… O tempo sem fim, de nunca voltar atrás… um buraco que você não pode ver, e quando o vento sopra não faz nenhum som.”

Tom Stoppard

“Um correspondente estrangeiro é um sujeito que vive de hotel em hotel e pensa que o mais importante sobre qualquer coisa que esteja acontecendo naquele país é o fato de que ele chegou para cobri-la.”

Tom Stoppard

Tom Stoppard: Frases em inglês

“Beauty is desired in order that it may be befouled; not for its own sake, but for the joy brought by the certainty of profaning it.”

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Tom Stoppard

Elle est désirée pour la salir. Non pour elle-même, mais pour la joie goûtée dans la certitude de la profaner.
Misattributed
Fonte: Georges Bataille, Erotism (1962) [City Lights Books, 1991, trans. Mary Dalwood, ISBN 0872861902], part I, ch. XIII, p. 144.

“The days of the digitals are numbered. The metaphor is built into them like a self-destruct mechanism.”

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Tom Stoppard The Real Thing

Max, Act I, scene I.
Often misquoted as "The days of the digital watch are numbered."
The Real Thing (1982)

“This thing here, which looks like a wooden club, is actually several pieces of particular wood cunningly put together in a certain way so that the whole thing is sprung, like a dance floor. It's for hitting cricket balls with. If you get it right, the cricket ball will travel two hundred yards in four seconds, and all you've done is give it a knock like knocking the top off a bottle of stout, and it makes a noise like a trout taking a fly. What we're trying to do is to write cricket bats, so that when we throw up an idea and give it a little knock, it might…travel.”

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Tom Stoppard The Real Thing

Henry, Act II, scene V
The Real Thing (1982)

“It seems pointless to be quoted if one isn't going to be quotable … it's better to be quotable than honest.”

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Tom Stoppard

Interview http://books.google.com/books?id=PubwLmgAcd0C&q="It+seems+pointless+to+be+quoted+if+one+isn't+going+to+be+quotable"+"it's+better+to+be+quotable+than+honest"&pg=PA49#v=onepage with Janet Watts that appeared in The Guardian newspaper 21 March 1973.

“Language is a finite instrument crudely applied to an infinity of ideas, and one consequence of the failure to take account of this is that modern philosophy has made itself ridiculous by analysing such statements as, "This is a good bacon sandwich," or, "Bedser had a good wicket."”

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Tom Stoppard Jumpers

Fonte: George, Act II. Jumpers (1972)

“To be an artist at all is like living in Switzerland during a world war. To be an artist in Zurich, in 1917, implies a degree of self-absorption that would have glazed over the eyes of Narcissus.”

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Tom Stoppard Travesties

Carr, Act I
Travesties (1974)

“Most men give advice by the bucket, but take it by the grain.”

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Tom Stoppard

Misattributed
Fonte: William R(ounseville) Alger, American clergyman and writer [1822-1905]; reported in Raphael Lewin, Ed., The New Era (1872), Volume 2, p. 315.

“When I was at school, on certain afternoons we all had to do what was called Labour — weeding, sweeping, sawing logs for the boiler-room, that sort of thing; but if you had a chit from Matron you were let off to spend the afternoon messing about in the Art Room. Labour or Art. And you've got a chit for life? Where did you get it? What is an artist? For every thousand people there's nine hundred doing the work, ninety doing well, nine doing good, and one lucky bastard who's the artist.”

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Tom Stoppard Travesties

Carr, Act I
Travesties (1974)

“When someone disagrees with you on a moral point you assume that he is one step behind in his thinking, and he assumes that he has gone one step ahead. But I take both parts, O'Hara, leapfrogging myself along the great moral issues, refuting myself and rebutting the refutation towards a truth that must be the compound of two opposite half-truths. And you never reach it because there is always something more to say.”

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Tom Stoppard

Fonte: Lord Malquist and Mr Moon (1966), Ch. 2: A Couple of Deaths and Exits.

“There is presumably a calendar date — a moment — when the onus of proof passed from the atheist to the believer, when, quite suddenly, secretly, the noes had it.”

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Tom Stoppard Jumpers

George, Act I
Jumpers (1972)

“(Falls down in a drunken stupor): Let's sit down.”

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Tom Stoppard

Ogarev.
The Coast of Utopia: Salvage (2002)

“My whole life is waiting for the questions to which I have prepared answers.”

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Tom Stoppard

Fonte: Lord Malquist and Mr Moon (1966), Ch. 2: A Couple of Deaths and Exits.

“The House of Lords, an illusion to which I have never been able to subscribe — responsibility without power, the prerogative of the eunuch throughout the ages.”

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Tom Stoppard

This is a reference to a quote of Rudyard Kipling, "Power without responsibility — the prerogative of the harlot throughout the ages," which became widely known after being quoted by prime minister Stanley Baldwin in a speech of 1931-03-17.
Fonte: Lord Malquist and Mr Moon (1966), Ch. 6: An Honourable Death

“We shed as we pick up, like travellers who must carry everything in their arms, and what we let fall will be picked up by those behind. The procession is very long and life is very short. We die on the march. But there is nothing outside the march so nothing can be lost to it. The missing plays of Sophocles will turn up piece by piece, or be written again in another language. Ancient cures for diseases will reveal themselves once more. Mathematical discoveries glimpsed and lost to view will have their time again. You do not suppose, my lady, that if all of Archimedes had been hiding in the great library of Alexandria, we would be at a loss for a corkscrew?”

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Tom Stoppard Arcadia

Septimus, Act I
Arcadia (1993)

“Turgenev: The names for things don't come first. Words stagger after, hopelessly trying to become the sensation.”

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Tom Stoppard

The Coast of Utopia: Shipwreck (2002)

“I write plays because dialogue is the most respectable way of contradicting myself.”

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Tom Stoppard

"Tom Stoppard," profile by Kenneth Tynan, The New Yorker (1977-12-19).
Interviews and profiles

“I still believe that if your aim is to change the world, journalism is a more immediate short-term weapon.”

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Tom Stoppard

Fonte: Interview, The Guardian (London, 1988-03-18).

“When Harold Pinter was lobbying to have London's Comedy Theatre renamed the Pinter Theatre, Stoppard wrote back: "Have you thought, instead, of changing your name to Harold Comedy?"”

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Tom Stoppard

Interviews and profiles <br class="br">Fonte: William Langley, &quot;Profile: Sir Tom Stoppard,&quot; The Telegraph (2006-11-06) http://www.telegraph.co.uk/opinion/main.jhtml;jsessionid=W4GGMOS2UYBMJQFIQMFSFFWAVCBQ0IV0?xml=/opinion/2006/06/11/do1107.xml

“Responsibilities gravitate to the person who can shoulder them.”

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Tom Stoppard

Misattributed
Fonte: Elbert Hubbard, "J.B. Runs Things," Short Stories and Index: Elbert Hubbard's Selected Writings, Part 14 (1923) [Kessinger Publishing, 1998, ISBN 0766103978], p. 278.

“Revolution is a trivial shift in the emphasis of suffering; the capacity for self-indulgence changes hands.”

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Tom Stoppard

Fonte: Lord Malquist and Mr Moon (1966), Ch. I: Dramatis Personae and Other Coincidences.

“It was precisely this notion of infinite series which in the sixth century BC led the Greek philosopher Zeno to conclude that since an arrow shot towards a target first had to cover half the distance, and then half the remainder, and then half the remainder after that, and so on ad infinitum, the result was, as I will now demonstrate, that though an arrow is always approaching its target, it never quite gets there, and Saint Sebastian died of fright.”

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Tom Stoppard Jumpers

George, Act I
Jumpers (1972)

“Milne: No matter how imperfect things are, if you've got a free press everything is correctable, and without it everything is concealable.
Ruth: I'm with you on the free press. It's the newspapers I can't stand.”

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Tom Stoppard Night and Day

Act I
Night and Day (1978)

“I learned three things in Zurich during the war. I wrote them down. Firstly, you're either a revolutionary or you're not, and if you're not you might as well be an artist as anything else. Secondly, if you can't be an artist, you might as well be a revolutionary. … I forget the third thing.”

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Tom Stoppard Travesties

Carr, Act II.
Travesties (1974)

“An artist is the magician put among men to gratify — capriciously — their urge for immortality. The temples are built and brought down around him, continuously and contiguously, from Troy to the fields of Flanders. If there is any meaning in any of it, it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities. What now of the Trojan War if it had been passed over by the artist's touch? Dust. A forgotten expedition prompted by Greek merchants looking for new markets. A minor redistribution of broken pots. But it is we who stand enriched, by a tale of heroes, of a golden apple, a wooden horse, a face that launched a thousand ships — and above all, of Ulysses, the wanderer, the most human, the most complete of all heroes — husband, father, son, lover, farmer, soldier, pacifist, politician, inventor and adventurer.”

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Tom Stoppard Travesties

Joyce, Act I
Stoppard called this "the most important" speech in the play
Fonte: Travesties (1974)

“Wake me up for breakfast, if I'm not dead.”

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Tom Stoppard The Coast of Utopia

Turgenev
The Coast of Utopia: Salvage (2002)