Stoppard has thus, as many before him attempted a new form of realism. Like Thomasina's desire to get away from typical forms of geometry that, in no way describe nature, Stoppard uses the unpredictable algorithm and play to plot the intricacies and outcomes of life itself. The structure of the play would seem to defeat any sort of reality, but the usage of an equation—the algorithm that can be repeated over and over—seeks a different sort of realism that can be repeated, a process that is constantly in flux. The play is divided into two acts and seven scenes. There is initial order between the scenes, switching back and forth from historical to present day scenes, but then the back to back modern day scenes throw this order. There is no symmetry between the acts or in the scenes; some scenes are four pages, and others are over twenty. The only stable element of Stoppard's form is the environment, the setting of both time periods is the same, although Sidley Park changes considerably over two centuries. The audience cannot predict the progression of the plot nor suspect Thomasina's untimely end. Stoppard has created a random and chaotic play (as possibly as a playwright can manage) that tests and crumbles our notions of the play in an effort to create reality. Stoppard strives to bring playwriting from arcs and angles to organic, unordered, and chaotic forms.