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Rosencrantz and Guildenstern Are Dead, by Tom Stoppard
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Acclaimed as a modern dramatic masterpiece, Rosencrantz & Guildenstern are Dead is the fabulously inventive tale of Hamlet as told from the worm’s-eve view of the bewildered Rosencrantz and Guildenstern, two minor characters in Shakespeare’s play. In Tom Stoppard’s best-known work, this Shakespearean Laurel and Hardy finally get a chance to take the lead role, but do so in a world where echoes of Waiting for Godot resound, where reality and illusion intermix, and where fate leads our two heroes to a tragic but inevitable end.
Tom Stoppard was catapulted into the front ranks of modem playwrights overnight when Rosencrantz and Guildenstern Are Dead opened in London in 1967. Its subsequent run in New York brought it the same enthusiastic acclaim, and the play has since been performed numerous times in the major theatrical centers of the world. It has won top honors for play and playwright in a poll of London Theater critics, and in its printed form it was chosen one of the “Notable Books of 1967” by the American Library Association.
- Sales Rank: #15952 in Books
- Brand: Grove Press
- Published on: 1994
- Original language: English
- Number of items: 1
- Dimensions: 8.25" h x 5.50" w x .50" l, .25 pounds
- Binding: Paperback
- 128 pages
- Grove Press
Review
Praise for Rosencrantz and Guildenstern Are Dead:
“A masterpiece, not unlike Shakespeare’s plays; it’s artfully, imaginatively written, multidimensional, and hilarious.”―New Yorker
“Rosencrantz and Guildenstern are Dead . . . has proved its sturdiness and power to endure . . . It is, after all, the most performed, most studied, most earnestly analyzed and strenuously anatomized of all Mr. Stoppard’s plays: the foundation of his international career and the inevitable starting point for anyone wanting to appreciate him.”―Benedict Nightingale, New York Times
“A coruscatingly brilliant, endlessly thought-provoking masterpiece.”―Wall Street Journal
“In making Rosencrantz and Guildenstern . . . Stoppard mixed the poetic melodrama of Shakespeare with the doom-laden minimalism of Samuel Beckett and topped it with the slapstick of the Marx Brothers.”―Rolling Stone
“Very funny. Very brilliant. Very chilling. It has the dust of thought about it and the particles glitter excitingly in the theatrical air . . . This is a most remarkable and thrilling play. In one bound Mr. Stoppard is asking to be considered as among the finest English-speaking writers of our stage, for this is a work of fascinating distinction.”―Clive Barnes, New York Times
“Astonishing ― a youthful prank bursting with theatrical mischief and literary flair.”―Washington Post
“A tour de force . . . Fascinating . . . A triumph.”―Roger Ebert
“Tom Stoppard’s lively twist on Hamlet . . . [A] metapharcical romp . . . Stoppard’s philosophizing playfulness is clearly indebted to the music hall absurdism of Waiting for Godot . . . Stoppard’s fertile wit keeps this three-act drama pulsing along . . . A subtle pathos, along with the playwright’s verbal sophistication, prevents the play from degenerating into a collegiate vaudeville . . . The language remains spry . . . It attains a comic lyricism that’s as funny as it is piercing.”―Charles McNulty, Los Angeles Times
“Full of philosophizing, nuances and complexities . . . [An] absurdist tragi-comedy . . . Stoppard’s . . . writing is pristine.”―Charlotte Observer
“Like Beckett, Stoppard shows two figures struggling to find identity and purpose in a world that makes little sense . . . Stoppard is always praised for his intellectual ingenuity: far more important is how, even in his late 20s, he was obsessed with human transience.”―Guardian
“After the first night of Rosencrantz and Guildenstern Are Dead at the National Theatre in 1967, Tom Stoppard awoke and found himself famous. It’s still a delightful shock, every few years, to be reminded how brilliant and engaging this play remains.”―Independent (UK)
“Rosencrantz and Guildenstern Are Dead feels as fresh and inventive as it must have fifty years ago when it premiered at the Edinburgh Fringe Festival and catapulted Tom Stoppard to an international career that continues today. [An] occasionally baffling, always hilarious play.”―Talkin’ Broadway
“[A] brilliant play.”―Philadelphia Inquirer
“Stoppard’s intellectual word games and bits of comic business are exhilaratingly clever while Rosencrantz and Guildenstern’s antics as they stumble in and out of Hamlet make them part Abbott and Costello, part Laurel and Hardy, part Olsen and Johnson, and part Vladimir and Estragon . . . Invigorating brilliance . . . A literate and thought-provoking celebration of the spoken word.”―TV Guide
“Tom Stoppard’s . . . meta-theater masterpiece.”―A.V. Club
“[A] funny play . . . Stoppard wittily plucked two minor characters from Hamlet and created a dazzlingly wordy and deliberately confounding play . . . Although R & G is among the earliest of Stoppard plays, it has all the comic ingenuity and intellectual razzle-dazzle that has become his signature.”―Curtain Up
“Rosencrantz and Guildenstern Are Dead . . . [is] now a solid part of the Stoppard canon, and . . . it’s a treat . . . The two men become vehicles for Stoppard’s non-stop wit with words, flow of ideas and diddling with logic . . . As always, Stoppard’s cerebral work will leave some people energized by its storm of ideas.”―NewsWorks
“Intimate, funny and anachronistically atmospheric . . . Without doubt, the play resides within the traditions of the Theatre of the Absurd . . . Stoppard makes it so entertainingly witty, fun and ultimately affecting, you will hardly notice you have been being existential . . . A testament to Stoppard . . . Medieval yet modern, silly yet existential, and all around thoroughly entertaining.”―Metro Weekly
“This monumental and hugely successful play is a highly entertaining mind gym in which Stoppard uses a complex yet fluid dialogue between Rosencrantz and Guildenstern . . . to effortlessly explore the nature of our elusive and all-too-temporal existence.”―Limelight Magazine (Australia)
“A classic of absurdist comedy . . . Mr. Stoppard has fun upending expectations . . . [A] seriously amusing romp.”―CentralJersey.com
About the Author
Tom Stoppard is the author of such seminal works as Rosencrantz and Guildenstern Are Dead, Jumpers, The Real Thing, Arcadia, The Invention of Love, and the trilogy The Coast of Utopia. His screen credits include Parade’s End, Shakespeare in Love, Enigma, Empire of the Sun, and Anna Karenina.
Most helpful customer reviews
0 of 0 people found the following review helpful.
I love this play
By Jesse Domingos
I love this play, such a wonderful piece of work, masterfully written, so funny, very creative to see how the author took what most thought to be flat unimportant characters from Shakespeare HAMLET and gave them life. LOVE THIS PLAY
0 of 0 people found the following review helpful.
Guildenstern and Rosencrantz Are Alive
By Daniel Lewis
This play never gets old. Does any play? They're like flies encased in amber, filled with the blood of dinosaurs. Every performance stirs ancient powers. You never know what they'll bring back to life, or back to death.
Here the extras are the heroes, just for one day. Hamlet gets a few walk-ons, but to be or not to be is never a question. Rosencrantz and Guildenstern are the perhaps unwilling, perhaps complicit participants in their inevitable, inexplicable existence, and they take center stage in this very meta play about plays about life, death, you, me, choice, chance, and fate.
Do they seize their chance or waste it? Could it have been any different? Are they, in the end, extra mortal or alive forever? Is the title, in the end, the first and last joke?
I can't give enough praise to the hilarity, the profundity, the stupidity, the cupidity, the reality of this marvelous play-thing. I don't think you really need to have Hamlet before it. And you won't have quite the same Hamlet after it.
0 of 0 people found the following review helpful.
Great play on free will.
By Alex Kamote
Rosencrantz and Guildenstern show us the problem with free will is that humans are potentially completely reactionary, despite our attempts not to be. The theater of the absurd dramatizes the problem of free-will as a ridiculous concept. In Stoppard’s play the best parts were the futility of Rosencrantz and Guildenstern on the boat wondering what happens once they get to England. In our everyday lives we act the same way toward upcoming events, and while many of us just reassure ourselves with assumptions on what we will do, in reality we have no idea. That is because in a given situation we are forced to interact with what is thrown at us. Even the ultimate sign of free-will, reading self-help books, is spurred by personal failures caused by the situations thrown at us. Rosencrantz and Guildenstern get “self-help” from the player, but as Stoppard points out, all of us are on the same boat. The difference is that some of us are willing to make more assumptions and cling to values than others. Meanwhile, Rosencrantz and Guildenstern refuse to do such a thing.
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