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Rosencrantz and Guildenstern Are Dead

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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) “Stoppard’s too-clever-for-words little skit in the vicinity of Hamlet . . . This is absurdism 101 with a cultivated Oxbridge edge and an echo chamber of quotations and scattered emotional reverberations from the greatest enigma of a play ever written . . . A brilliant calling card.”―Sydney Morning Herald “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

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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.

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Product details

Paperback: 128 pages

Publisher: Grove Press; 50th Anniversary edition (April 11, 2017)

Language: English

ISBN-10: 0802126219

ISBN-13: 978-0802126214

Product Dimensions:

6 x 0.5 x 7 inches

Shipping Weight: 4.8 ounces (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

186 customer reviews

Amazon Best Sellers Rank:

#13,883 in Books (See Top 100 in Books)

Just one of my favorite lines from this fine play is "What a fine persectution--to be kept intrigued without ever being enlightened." That is the predicament of two bit players in the grand pageant that is Shakespeare's Hamlet. They know little about their childhood friend and less about court intrigues. They are we, and we are they. Like Rosencrantz, we observe closely and infer. Like Guildenstern, we trust that reason and precedent will deliver truth. For these poor fellows, neither experience nor reason enlightens and they end with a whimper, not a bang. The play is--well, playful. Stoppard plays with language, belief, classic characters, life and death. Read it aloud. Read it to yourself. Reread Hamlet, then read Stoppard's play again. Keep a copy near and dip into it in idle moments. It will delight and inform.

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.

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

R+G was a challenge for me to understand. I'm glad I also got the Sparknotes Guide and the blue ray movie! I already am feeling rewarded.

From the uncomparable genius of Tom Stoppard comes a quotable masterpiece about two friends lost in someone else's story. While the rest of Shakespeare's characters remain true to their original script, Ros and Guil step out of the box to explore a variety of topics ranging from the metaphysical to the downright comical. As the title suggests, the story is, ultimately, a tradegy -- but as the reader gets to know the two stars, it becomes a tragedy on multiple levels. One feels that their deaths are preordained, and even the moments of sidesplitting hilarity are laced with the bittersweet knowledge that it WILL end. The story is made still more touching as the characters' early realization of their fate battles with their unquenchable hope. Stoppard has captured in Rosencrantz and Guildenstern a sense of innocence that endures despite the chaos around them in a world where it seems even the laws of physics have suddenly ceased to apply. A perfect mixture of comedy and tragedy with a philosophical overtone attainable only by Stoppard, this is a play you will want to read, re-read, and act out with your friends in daily conversations.

If you are going to a revival of this play, read this first. It's brilliant, but VERY talky. Also read Hamlet, to see the brilliance of Stopped's work

i never remember if I cut my toe nails more often or my finger nails... let's flip a coin

It's like a funny little side story of two characters from Hamlet.

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Filed Under: Ebooks on Selasa, 07 Juli 2015