also cowboys, a lion (banned from the Ritz) and a donkey-borne Irishman claiming to be the Risen Christ. 1980s In the 1980s, in addition to writing his own works, Stoppard translated many plays into English, including works by Sławomir Mrożek, Johann Nestroy, Arthur Schnitzler, and Václav Havel. It was at this time that Stoppard became influenced by the works of Polish and Czech absurdists. He has been co-opted into the Outrapo group, a far-from-serious French movement to improve actors' stage technique through science. In 1982 Stoppard premiered his play The Real Thing. The story revolves around a male-female relationship and the struggle between the actress and the member of a group fighting to free a Scottish soldier imprisoned for burning a memorial wreath during a protest. The leading roles were originated by Roger Rees, and Felicity Kendal. The story examines various constructs of honesty including a play within a play, to explore the theme of reality versus appearance. It has been described as one of Stoppard's "most popular, enduring and autobiographical plays." The play made its Broadway transfer in 1984 which was directed by Mike Nichols starring Jeremy Irons and Glenn Close in the leading roles with a supporting role by Christine Baranski. The transfer was a critical success with The New York Times theatre critic Frank Rich declaring, "The Broadway version of The Real Thing - a substantial revision of the original London production - is not only Mr. Stoppard's most moving play, but also the most bracing play that anyone has written about love and marriage in years." The production went on to earn a seven Tony Award nominations winning five awards for Best Play as well for Nichols, Irons, Close, and Baranski. This would be Stoppard's third Tony Award for Best Play following, Rosencrantz and Guildenstern Are Dead in 1968, and Travesties in 1976. In 1985, Stoppard co-wrote with Terry Gilliam and Charles McKeown a feature film, the satirical science-fiction dark comedy Brazil (1985). The film received near universal acclaim. Pauline Kael critic for The New Yorker declared, "Visually, it’s an original, bravura piece of moviemaking...Gilliam’s vision is an organic thing on the screen—and that’s a considerable achievement". Stoppard along with Gilliam and McKeown were nominated for the Academy Award for Best Original Screenplay losing to Witness. He went on to write the scripts for Steven Spielberg, Empire of the Sun (1987), and Indiana Jones and the