Tom Stoppard's Big Picture: The Chaos that is Our World

摘要

Issues arising from discussions regarding the 'two cultures' of science and art are many and varied. Tom Stoppard's very active utilization of science in many of his plays has resulted in his work - especially the quantum mechanics-informed Hapgood and the chaotics-informed Arcadia - being held up as paradigmatic of one science/art position or another. Often, critical approaches to these plays involve a checklist of scientific facts, implying that the goal of such art is to serve as a delivery device for scientific breakthroughs. While plays, novels, and movies of various sorts may have such goals in mind, Stoppard's plays do not comfortably fill that agenda, critical arguments to the contrary notwithstanding. Neither do Stoppard's plays show particular interest in engaging any debate about the superiority of one 'culture' over the other. In his two 'science plays' in particular, what Stoppard offers is an enrichment of both science and art through metaphorical intertwinings that suggest experience is best served when both camps collaborate. The bigger picture that results argues an overlap in epistemology, namely revealing the uncanny similarity in which artist and scientist approach the material that is our universe.