Rosencrantz And Guildenstern

Rosencrantz and Guildenstern are Dead, written in the 1960s by playwright Tom Stoppard, is a transformation of Shakespeare’s Hamlet. Stoppard effectively relocates Shakespeare’s play to the 1960s by reassessing and reevaluating the themes and characters of Hamlet and considering core values and attitudes of the 1960s- a time significantly different to that of Shakespeare. He relies on the audience’s already established knowledge of Hamlet and transforms a revenge tragedy into an Absurd drama, which shifts the focus from royalty to common man. Within Rosencrantz and Guildenstern are Dead, Stoppard uses a play within a play to blur the line that defines reality, and in doing so creates confusion both onstage- with his characters, and offstage- with the audience. Using these techniques, Stoppard is able make a statement about his society, creating a play that reflected the attitudes and circumstances of the 1960s, therefore making it more relevant and relatable to the audiences of that time.
The transformation of a Shakespearean Revenge Tragedy into an Absurd Drama means a considerable change in structure from a well-structured and rigid format, into a chaotic and formless play. Stoppard deliberately alters the configuration of

Stoppard portrays Destiny in the 1960s as a higher power that cannot be altered, emphasizing lack of will individuals had in the 1960s. The turmoil and shattered beliefs of the time meant that people felt defenceless and incapable of taking charge- they thrive on external gratification to provide direction and purpose. As Guildenstern questions this authority, “Who Decides?”, the Player rightly answers him- “Decides? It is written.” The title chosen by Stoppard also tells audiences the fate of these two helpless characters. We are told from the very beginning that these two are destined to die. It is just before this death that they realise that “there must have been a moment, at the beginning, where we could have said- no.” However, it is too late. Stoppard acknowledges Shakespeare’s belief that the acceptance of fate empowers an individual, but he chooses to explore the consequences of refusing one’s given purpose- the likely choice in the 1960s.

The play within the play is also utilised effectively by Stoppard to make a statement about his society. In Hamlet, there is clear distinction between reality and acting but this is not the case in Rosencrantz and Guildenstern are Dead. By obscuring the audience’s perception of what is real and what is all an act, he introduces the question of whether man is simply playing a role. Identities and purposes blur and one cannot tell whether a character is genuine or acting. This is shown when Guildenstern appears to have killed the Player. Audiences, as well as the character are fooled into thinking that the stabbing