Tom Stoppard’s path to literary success is a story that would be worthy of the stage. Born in Czechoslovakia (as it was then known) as Tomás Straüssler in 1937, he endured a turbulent childhood before rising to fame as one of the great playwrights of his time. Known for his intelligent wordplay and intellectual prowess, Stoppard’s career spanned more than 60 years, across stage, screen and radio.
As well as being a literary great, he was also a staunch advocate for free speech. Although he often suggested that his works were not politically motivated, much of his writing centred around themes of censorship and human rights.
Stoppard joined the advisory board of Index on Censorship in 1978 and made several contributions to the magazine in defence of free speech, declaring in one interview that “free expression was what made all the other freedoms possible, so it was everything.”
Stoppard first rose to fame in 1967 with his play Rosencrantz and Guildenstern Are Dead, a tragicomedy revolving around the actions of two minor characters from Shakespeare’s Hamlet, which brought overnight success after its London debut at the Old Vic. The play was responsible for the first of his five Tony award wins for Best Play, a record unmatched by any other playwright. Other works to earn this accolade include his 1974 comedy Travesties, 1982 drama The Real Thing and his 2002 drama The Coast of Utopia.
The 1990s signalled a decade of unparalleled success for Stoppard. His services to literature were acknowledged with a knighthood in 1997, and he won an Oscar for Best Original Screenplay for his 1998 film Shakespeare in Love.
Age proved no barrier to the writer, who continued his work well into his 80s with his last play Leopoldstadt, a drama centred around a Jewish family in Vienna, which earned him his final Tony award for Best Play in 2023.
His achievements are perhaps even more impressive considering the challenges he faced in early life. Soon after he was born, his family, who were non-practising Jews, were forced to flee Czechoslovakia to escape the Nazis. After four years in Singapore, Stoppard once again found himself fleeing conflict. An invasion by Japan caused him to move to India with his mother and brother, while his father stayed behind and was killed at sea by a bomb dropped by Japanese forces. In 1946, Stoppard’s mother married a British army major who gave the family his name and moved them over to England.
These roots influenced his later role as an advocate for free speech. The authoritarian regime that engulfed his homeland of Czechoslovakia in the years between the Soviet Union invasion in 1968 until the fall of communism there in 1989 helped to shape his opposition to totalitarianism and media repression. After reading about Victor Fainberg’s experience of being detained in the USSR in an issue of Index on Censorship in 1975, Stoppard was inspired to write Every Good Boy Deserves Favour, a drama set in a Soviet mental hospital. He dedicated the play to Fainberg and Vladimir Bukovsky, another incarcerated dissident, and an excerpt was published in the magazine in 1978.
Stoppard worked as a journalist prior to his transition to the world of theatre. His early career influenced some of his later causes. For example, he voiced his support for Hacked Off’s campaign for a free and accountable press due to his belief that “free expression in the context of British journalism seemed to me to be about as important a subject for any kind of writing, including plays, as you would find.”
In his final interview with Index in 2021, he warned against the modern culture of intolerance, identity politics and cancel culture, declaring that “the danger to society of actual censorship has probably never been greater”. A year later he wrote playfully but seriously on identity politics.
Such talents as Stoppard come few and far between, and his contributions to both literature and the fight for free speech will be sorely missed.
The prominent Soviet-era Russian dissident Viktor Fainberg died this week at the age of 91. Fainberg, who was a philologist, was one of the eight people who protested in Red Square, Moscow on 25 August 1968 against the Soviet invasion of Czechoslovakia, alongside Pavel Litvinov and the late poet Natalya Gorbanyevskaya, among others. Despite the protest lasting only five minutes, all were arrested by the Soviet authorities.
All these people were instrumental in the founding of Index, as Jo-Ann Mort’s interview with Pavel Litvinov, published here, shows.
On Fainberg specifically, after his arrest he was brutally assaulted by the police to the point where he could not physically stand trial. Fainberg was examined, then sent to a Leningrad psychiatric hospital for over four years with no evidence of mental illness – details of which he shared with the translator Richard McKane who he met at an Index on Censorship party in the 1970s. He was then diagnosed with schizophrenia, which was a common tactic during the Khrushchev era to repress dissenters and silence voices of criticism in the Soviet Union, which continued into the Brezhnev era.
In the spring of 1971, Fainberg staged an 81-day hunger strike against conditions in the psychiatric hospital, and was eventually released in February 1973.
Fainberg founded the Campaign Against Psychiatric Abuse in April 1975, an organisation which campaigned against the abuse of human rights through misuse of psychiatry in the Soviet Union. The country withdrew from the World Psychiatric Association in 1983.
After his release, Fainberg, born into a Jewish family in Kharkiv, Ukraine on 26 November 1931, initially moved to Israel before settling in France in later life.
In 2014, Fainberg received the Medal of the President of the Slovak Republic for his actions in 1968, and in 2018 received the Gratias Agit award from the Czech Ministry of Foreign Affairs for promoting the good name of the Czech Republic.
He kept up his activism to the end, shifting his focus to Ukraine. Years before the recent invasion, Fainberg spoke out against the Kremlin’s Ukrainian political prisoners. He also warned of the “shadow of Munich hanging over Europe”.
In his 2015 letter to abducted Ukrainian military pilot Nadiya Savchenko, who was on hunger strike in a Russian prison, he wrote “I was born in Ukraine, in Kharkiv. The first nature that I saw, the first songs that I heard, were the nature and the songs of Mother Ukraine”. At the end of the letter, Fainberg told Savchenko that he was joining her hunger strike (which she later agreed to end). Fainberg also attended many protests in Paris, demanding the release of Ukrainian filmmaker Oleh Sentsov.
On news of his death Mikhail Khodorkovsky, the Russian businessmen who was himself jailed for falling foul of the Putin regime, said:
“He was an amazing, remarkable man who felt other people’s pain as if it were his own. The world is a different place without him – even less human, even colder.”
Belarus Free Theatre have been using their creative and subversive art to protest the dictatorial rule of Aleksandr Lukashenko for over a decade.
Facing pressure from authorities since their inception, the theatre company nonetheless thrived underground, performing in apartments, basements and forests despite continued arrests and brutal interrogations. In 2011, while on tour, they were told they were unable to return home. Refusing to be silenced, the group set up headquarters in London and continued to direct projects in Belarus. In 2016 the group was shortlisted for Index on Censorship’s Freedom of Expression Arts Award.
Why is it important to mount Burning Doors at this time?
Koliada: Freedom of expression in that geopolitical knot where we come from and where more than 200 million people live under severe pressures of authoritarian and dictatorial regimes. If we do not talk and alert people living in western, democratic countries to our stories, their countries will be infiltrated in different forms, initially unnoticeably, by people manipulating the authorities who say it’s all in the name of the law.
Where did the idea come from?
Koliada: The idea behind Burning Doors is at the heart of Belarus Free Theatre. Close your eyes, just for a moment, and imagine that a theatre company based here in the UK could be prohibited to perform shows by Mark Ravenhill and Sarah Kane, and needs to perform underground. Even operating underground, the actors and managers could be arrested by MI5, riot police or the Met, and audience members threatened and told that they could lose their jobs and education.
(Our audience is a very young one and, of course, they are not scared of the secret services, so what would happen in those cases is that their parents would be threatened with professional retribution.)
I’ll continue and ask you to imagine that all of it has happened and continues to happen to a UK based-theatre company, one that is known and performs across the world, and yet can only exist because its founding members are exiled from their homeland and they now have political asylum in the UK. This has been our story for the past 11 years.
It’s in our blood to feel all the symptoms of dictatorship. Last year when we mounted Staging A Revolution: I’m with Banned which brought international attention to banned artists in Belarus, Ukraine (Ukrainian artists who spoke out against the Russian military invasion of Ukraine and are now prohibited in Russia), and Russia, it was the first time anyone had mounted an artistic solidarity event with Eastern Europe since the collapse of the Soviet Union.
Around the same time that the Festival took place, filmmaker Oleg Sentsov and contemporary artist Petr Pavlensky were arrested. Masha Alekhina, a member of Pussy Riot who served two years in jail, got in contact with us and suggested we work together. We knew we had to do it. We were intrigued by the artistic possibilities of working with a real witness talking about her own personal experiences and bringing her into our Minsk-based ensemble of actors, the most talented and bravest in the world. We wanted to connect Masha’s story to those of other persecuted contemporary actors and through a prism of their personal stories to speak openly about the hypocrisy of politicians and to inspire our audiences to reflect on the reality that we as human beings need to stand up together against repressive regimes. It’s important for us to reemphasise that we are not heroes, we are not victims, we are contemporary artists.
Does BFT think that building cross-border alliances with artists will have an impact on the threats to freedom of expression?
Koliada: Any cross-borders alliances of artists expands audiences. It transforms all of us into a movement. Why do dictators put contemporary artists into jails? Because they want to show with a single example that it’s dangerous to resist systems through the arts. They become scared when we stand up together against them. It’s very simple in thought and action but this is what makes them go into panic mode. Ai Wei Wei was under a house arrest when he created the visual icon for our campaign, Staging A Revolution: I’m with Banned. More than 600,000 people across the world saw it online, and people from more than 37 countries supported our campaign. This kind of collective action makes dictators feel sick and it’s then that they start to make the mistakes that lead to their collapse.
It’s unprecedented for us as a theatre company making work for more than eleven years under dictatorship to collaborate with a woman who served a two-year term in a Russian jail. Within days of announcing this collaboration to the media in the UK, it spread across the world. Even this level of coverage is terrifying to people like Putin or Lukashenko because it demonstrates the tidal wave of support for non-violent resistance by creating art. Art is more powerful than political rhetoric. When Mick Jagger, Tom Stoppard and Vaclav Havel made a video supporting the people of Belarus, we were arrested by the KGB. They knew that it was instigated and created by members of BFT. We understood then that the support of artists across the world was more terrifying to them than statements from politicians.
I think it’s time for all of us to make steps forward and to start to act together with artists, human rights defenders, politicians and journalists, because dictators are scared of a strong mutual position.
How has BFT’s mission evolved since being founded a decade ago?
Koliada: From the very beginning we were only interested in people. Human life is the most interesting subject matter for us. We started with our own personal taboos, then society’s taboos, then moved onto a global dimension. The only thing that is unchanging is our fundamental interest in people. When we perform in different continents across the world, people tell us that they find our work so powerful because they always find themselves within us. And likewise, we find ourselves in our audiences.
How else can people support BFT and Burning Doors?
Koliada: Information is the key. If people know what we do, why and how, we have the chance to continue to exist. People knowing of our existence and our work helps on many different levels including our financial sustainability. Last week, President Obama extended sanctions in Belarus stating that Belarus is “an unusual and extraordinary threat to the national security of the United States of America and its foreign affairs”. Yet at the same time, the EU is playing a badly orchestrated geopolitical rebranding game to try to convince people that “Belarus is normal”. It’s not. It has been a dictatorship in Europe for 22 years, political opponents have been murdered and their bodies never found. Those who perpetrated those crimes are still in power. Even this week, there is a trial underway against Eduard Palchis, who is a blogger and journalist. It seems that Belarus might have seized another political prisoner if human rights organisations across the world do not intervene.
And for BFT more specifically, this month we launched our first-ever Kickstarter campaign. We need to raise £20,000 in the month of June to bring our tireless, extraordinarily brave troupe of actors to the UK to work with them on our new work, Burning Doors. Every pound will help us get there. Please consider finding out more and supporting us today.
Belarusian people are living under “an iron fist in an iron glove,” said Sir Tom Stoppard on the Radio 4 Today programme, after presenting a special commendation to prisoners of conscience in Belarus at the Index on Censorship Freedom of Expression Awards 2011
