- Buy this product and stream 90 days of Amazon Music Unlimited for free. E-mail after purchase. Conditions apply. Learn more
Voyage: The Coast of Utopia Play 1 (The Stoppard Trilogy) Paperback – 5 Aug 2002
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
Special offers and product promotions
Customers who bought this item also bought
Customers also shopped for
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Voyage: The Coast of Utopia Play 1 by Tom Stoppard is an epic but also intimate drama of romantics and revolutionaries in an age of emperors.
This play is one of three sequential, self-contained plays which tell the story of some of the main actors in the drama of Russian radical opposition in the years pivoted on the European revolutions of 1848. The trilogy spans the early 1830s and the late 1860s, the period of activity of Alexander Herzen, the founder of Russian populism. Herzen's career intersected several others of equal interest, including those of Michael Bakunin, the progenitor of anarchism who challenged Marx for the political souls of the masses; of the writer Ivan Turgenev; and of Vissarion Belinsky, the brilliant, erratic young critic whose name continued to reverberate through the Bolshevik ascendancy 70 years after his early death.See all Product description
No customer reviews
|5 star (0%)|
|4 star (0%)|
|3 star (0%)|
|2 star (0%)|
|1 star (0%)|
Review this product
Most helpful customer reviews on Amazon.com
Voyage is my personal favorite of the three, if only because Liubov Bakunin (sister of the anarchist Michael Bakunin) and Nicholas Stankevich (proponent of German philosophy in Russia) are so stunningly written and so absolutely endearing. The Bakunin sisters as a whole are a lovely treat, funny and charming and feminine but still remarkably intelligent and capable, something often missing from period fiction. Michael Bakunin, Nicholas Stankevich, Vissarion Belinksy, Ivan Turgenev and Alexander Herzen, all major historical figures in their own rights, are amazingly human, but manage to retain the spark of greatness that brought them to their success, even cut short as it was in the cases of Stankevich and Belinsky.
The history is neither dominate or secondary to the characterization here, rather Stoppard manages to make the historical events we know (or may not know) part and parcel of the volatile and fascinating lives of some of Russias greatest citizens.
Voyage focuses on the whirlwind that is Michael Bakunin, who will one day become a leading anarchist but who is now just an artillery student who would rather study the new German romantic philosophy with his friends Nicholas Stankevich and Vissarion Belinsky. Stankevich was the founder of the leading philosophical circle in 1830s Moscow, a circle that produced Soviet-beloved literary critic Belinsky and novelist Ivan Turgenev. Revolutionary writer Alexander Herzen makes a breif appearance, but his story is told in the second and third plays.
Voyage is the anomaly of the trilogy. It focuses on the Bakunin family, while the other two plays focus on Herzen. It tends to examine broader trends, while the second two are more personal. The rapidly changing world of philosophy, class conflict, the role of women in society are all examined through more than one character. In structure, the second two plays are far more typical. Voyage, in contrast, has a unique organization. The first act flows chronologically, beginning to end, in one locale -- the family estate of Premukhino. But the family does not spend all of their time at Premukhino. The children often travel to Moscow, and the second act takes place there and in St Petersburg, from beginning to end. Thus the second act fills in narrative gaps from the first, and references in the first are fully explained in the second, resulting in some complex but lovely jokes. At the end, a short epilogue returns the scene to Premukhino, a coda as is used in the other two plays at the ends of acts.
Stoppard's characters are vibrant, but on the page they lose some of the strength they had on stage. It is perhaps less thrilling to read than to have seen, and many of the jokes are visual. Much of Belinsky's odd charm is from his physical tics, and the scenes between Liubov and Stankevich are only effective when read at the right pace, without making light of the necessary pauses. But in any play, something is lost when not properly performed, and Voyage holds up quite well considering those limitations. I cannot rate it five stars because I was lucky enough to see the first preview of the world premiere, and the written text cannot compare to having seen Douglas Henshall, Raymond Coulthard, Will Keen, and Eve Best create such wonderful roles.
Nonetheless, Voyage is eminently readable and highly amusing, and the trilogy is addictive to anyone with an interest in the age of revolutions.