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The Field of Modern Drama, or Arcadia

This article describes the journal’s field of enquiry as its new editor sees it. Considering details drawn from the rehearsal typescripts and published scripts of Tom Stoppard’s Arcadia alongside details drawn from four of the play’s major productions (1993, 1995, 2009, 2011), the article argues that this archive helps us to understand the productive instability of plays in performance and to understand how critics might read them. Tracing its argument alongside those of central proponents of performance theory – e.g., Peggy Phelan, Joseph Roach, Rebecca Schneider – the article concludes that, like the mythical Arcadia, the field of modern drama is nowhere fixed.