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A Dramatic Answer to The Hard Problem

Brice Ezell

Modern Drama July 1, 2026 DOI: 10.3138/md-69-2-3-1413 (opens in new tab)

Study at a glance

AI-extracted from the abstract
Characteristics Theoretical or philosophical paper Peer reviewed
Topics Philosophy of mind
Keywords Physicalism Argument complex analysis Nothing Phrase Analytic philosophy Naturalism Epistemology Eliminative materialism Qualia Philosophy of language Literature Plot graphics
Key points Argues that Stoppard uses a chronologically linear stage realist structure in The Hard Problem to rebut physicalist and materialist views of consciousness, contending that such views cannot account for the human experience of spectating drama.

Abstract

Tom Stoppard’s 2015 play The Hard Problem centres on an argument about the eponymous philosophical concept related to the study of consciousness, a phrase coined by the Australian analytic philosopher David Chalmers. The play’s investment in philosophy of mind results in heavily discursive dialogue, which many critics of the play felt rendered the script more like a series of arguments than a human drama. While The Hard Problem may lack the overt plot devices for which Stoppard is famous, it uses a chronologically linear stage realist structure to interrogate reductive physicalist answers to the hard problem. Stoppard deploys this approach, atypically straightforward for his style, to rebut the claim that humans are nothing but their biological hardwiring. For Stoppard, physicalist and other materialist views cannot account for what humans experience when they spectate drama. The Hard Problem extends Stoppard’s career-long fascination with analytic philosophy by utilizing the theatrical experience and one of the most conventional stage genres to embrace a view of the human mind that allows for immateriality .

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