The Stagecraft of Rosencrantz and Guildenstern are Dead Essay -- Rosen

The Stagecraft of Rosencrantz and Guildenstern argon Dead a poor scamer,that struts and frets his hour upon the stage,and then is heard no more This quote from Macbeth is a perfect summary of the plot of Rosencrantz and Guildenstern ar Dead. The dramatisation of the lives of these two unremarkable and virtually extraneous characters from Hamlet is an improbable foundation for iodine of the mostengaging of post-war plays (Daily Telegraph). However, as with Samuel Becketts absurdist play Waiting for Godot the originality of Stoppards concept is not enough in itself to cause a masterpiece and it is the brilliance of the stagecraft and writing that establishes this play as a classic.The presentation of these two characters is an important feature of the stagecraft. Neither Rosencrantz nor Guildenstern ever buy the farm the stage during the play until their deaths. They atomic number 18 the central focus which directly contrasts with their relation unimportance in Hamlet. The v isual effect of their being dressed in Elizabethan clothing is cleverly juxtaposed with their contemporary style of speech. It is merry that their identities seem to be interchangeable Guildenstern himself investigates this point in Act II,Guil RosencrantzRos (absently) What?Pause, short.Guil GuildensternRos (irritated by the repetition) What?Guil Dont you discriminate at all?While the otherwise characters such as Gertrude and Hamlet seem to be unsure who takes which name, the circumstance that they themselves are similarly confused augments this humorous idea.How they act and what they do are both important factors in establishing their personalities and Stoppard includes comprehensive stage directions in the script. In Act II there a... ...ey are merely actors. At one point in Act I, Rosencrantz stands at the edge of the stage looking at the audience and remarks that the idea of being a spectator could moreover be made bearable by the irrational belief that person interestin g will come on in a consequence. In Hamlet Rosencrantz and Guildenstern are dull characters. Whatever wit they whitethorn possess pales beside Hamlets intelligence, they are unable to adequately espy for Claudius and their contribution to the plot is two extra corpses and a few laughs at their expense. However in Rosencrantz and Guildenstern are Dead Tom Stoppard has managed to make these characters interesting. The add-on of the more three-dimensional character of the Player, several inventive uses of staging and the fanciful links with Hamlet itself establishes an original masterpiece of a play slightly two minor Shakespearean characters.