This book considers three of Stoppard's most famous stage plays. Stoppard's preference for meta-theatrical game-playing is presented as a consequence of his post-modernist perception that it is only possible for an artist to represent the world by reflecting the forms of contemporary culture through which individual experience is mediated. In accordance with the aim of the series, the book tries to show how the meaning and philosophical underpinning of the play is brought out in performance.