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Rosencrantz and Guildenstern Are Dead is an absurdist, existential tragicomedy by Tom Stoppard, first staged at the Edinburgh Festival Fringe in 1966.[1][2] The play expands upon the exploits of two minor characters from Shakespeare's Hamlet, the courtiers Rosencrantz and Guildenstern, and the main setting is Denmark.
The action of Stoppard's play takes place mainly "in the wings" of Shakespeare's Hamlet, with brief appearances of major characters from Hamlet who enact fragments of the original's scenes. Between these episodes, the two protagonists voice their confusion at the progress of events occurring onstage without them in Hamlet, of which they have no direct knowledge.
Comparisons have also been drawn with Samuel Beckett's Waiting for Godot,[3] for the presence of two central characters who almost appear to be two halves of a single character. Many plot features are similar as well: the characters pass time by playing Questions, impersonating other characters, and interrupting each other or remaining silent for long periods of time.
Rosencrantz and Guildenstern Are Dead garnered acclaim.[4]
The title is taken directly from the final scene of Shakespeare's Hamlet. In an earlier scene, Prince Hamlet has been exiled to England by the treacherous King of Denmark (his uncle Claudius, who has murdered Hamlet's father to obtain the throne). En route to England, Hamlet discovers a letter from King Claudius which is being carried to England by Hamlet's old but now untrusted friends Rosencrantz and Guildenstern. The letter commands that Hamlet be put to death upon his arrival in England. Hamlet rewrites the letter to command that instead, Rosencrantz and Guildenstern be put to death. He then escapes back to Denmark.
By the end of Shakespeare's play, Prince Hamlet, Laertes, Ophelia, Polonius, King Claudius, and Queen Gertrude all lie dead.
An ambassador from England arrives on the scene to bluntly report "Rosencrantz and Guildenstern are dead" (Hamlet. Act V, Scene II, line 411); they join the stabbed, poisoned and drowned key characters. By the end of Hamlet, Horatio is the only main figure left alive.
A previous, satirical play of a similar nature named Rosencrantz and Guildenstern was written by W. S. Gilbert in 1874 and performed in 1891.
With William Shakespeare's play Hamlet as the backdrop, Rosencrantz and Guildenstern Are Dead concerns the musings and mishaps of the titular characters. The play is structured as the inverse of Hamlet, in which Rosencrantz and Guildenstern are two minor characters who were childhood friends of the Prince; instead, the duo remains the focus and Hamlet himself is a minor role whose actions occur largely offstage, with the exception of a few short scenes in which the dramatic plays converge.
In Hamlet, Rosencrantz and Guildenstern operate under the King's command in an attempt to discover Hamlet's motives and plot against him. Hamlet, however, derisively mocks and outwits them, so that they, rather than he, are sentenced to death in the end. Rosencrantz and Guildenstern Are Dead explores these events from the perspective of the duo; their actions seem largely nonsensical because they are superseded and, therefore, determined by Hamlet's plot.
After witnessing a performance of The Murder of Gonzago – the play within the play in Hamlet – they find themselves on a ship, transporting Prince Hamlet to the King in England, with the troupe that staged the performance also on board as stowaways. They are supposed to give the King a letter with an instruction to execute Hamlet, who discovers this and replaces the letter with another one. During the voyage, the ship is hijacked by pirates, after which it is discovered that Hamlet has disappeared and the letter now instructs the English monarch to execute them instead.
The troupe recreates the duel scene from Hamlet with Rosencrantz and Guildenstern, at the end, accepting quo fata ferunt ("whither the fates carry [us]"). The play concludes with the final scene from Hamlet in which the English Ambassador arrives and announces that "Rosencrantz and Guildenstern are dead".
Act One
Rosencrantz and Guildenstern are betting on coin flips. Rosencrantz, who bets heads each time, wins 92 flips in a row. The extreme unlikeliness of this event according to the laws of probability leads Guildenstern to suggest that they may be "within un-, sub- or supernatural forces". It is revealed that the duo are journeying to court on the orders of the King. Guildenstern theorizes on the nature of reality, focusing on how an event becomes increasingly real as more people witness it.
A troupe of Tragedians arrives and offers the two men a show. They seem capable only of performances involving bloodbaths. The next two scenes at court are from the plot of Hamlet. The first, involving Hamlet and Ophelia, takes place offstage in Hamlet—the stage directions repeat exactly the words with which Ophelia describes the event to Polonius in Hamlet. The second is taken directly from Hamlet: Rosencrantz and Guildenstern's first appearance in that play. The Danish king and queen, Claudius and Gertrude, ask the two to discover the nature of Hamlet's recent madness. The royal couple demonstrate an inability to distinguish the two courtiers from one another, as do the characters themselves (to their irritation).
Rosencrantz and Guildenstern attempt to practise for their meeting with the Prince by one pretending to be Hamlet and the other asking him questions, but they glean no new information from it. The act closes with another scene from Hamlet in which they finally meet the Prince face to face.