Ros And Guil

How has the reading of your transformed text, Rosencrantz and Guildenstern are Dead, altered your reading of Shakespeare's Hamlet?

Shakespeare's Hamlet is one of the unsurpassed tragedies on the universal stage dealing with timeless ideals in an ever-changing world. Hamlet investigates the meaning of life and the search for truth in a time plagued by changing perceptions about man's place in the universe. Stoppard's, Rosencrantz and Guildenstern are Dead (RAGAD), is an appropriation of Shakespeare's Hamlet which illuminates and contrasts these existing values, forms and characteristics whilst the context aids in shedding light on contemporary issues. Contextual influences allow the respective composers to delve into metaphysical debates in an Elizabethan context and a 1960s post modernist context. The transformation of values in Rosencrantz and Guildenstern are Dead highlights the universality of the old text whilst both retain textual integrity and value. Shakespeare's Hamlet aimed to inspire pity and terror in order to inform the audience of society's problems in comparison to Stoppard who aimed at entertainment; however both texts explore the perpetual questions about the nature of humanity. The transformation process shows how timeless themes explored in the parent text, Hamlet, can successfully depict social quandaries of the 1960s, an existentialist view of contemporary society and a modern response to long-standing beliefs about fate and the perception of God.

At the time of writing Hamlet in 1601, Elizabethan England was emerging in a period marked by change, ferment and turbulence. In this climate questions precipitated into confusion, prompting metaphysical debate and questioning, thus the events in Denmark subtly reflect those in England. In Hamlet this uncertainty is voiced in the first line, "Where are we?" The Great Chain of Being was pinnacle in reinforcing religious practices and the foundations for a stable society. God was at the apex whilst the monarch played a vital role in social order. Claudius' attack on the king represents social discord among society; if the balance is altered conflict ensues. Rosencrantz and Guildenstern are Dead is also reflective of changing times in a post-modernist society of the 1960s. Traditional perceptions of time and space as chronological and linear were being challenged, whilst post-World War II and the threat of nuclear war evoked nihilistic attitudes and existentialism. Stoppard explores these ideas through the character of the player, "times being what they are...indifferent". Constant questioning of ideals are explored through Ros and Guil by the use of non-sequiters and repetition, "Which way do we - which way did we?" Furthermore the deterioration of fundamental laws within society is shown by breakdown of the law of probability and run of 92 heads. The introduction of probability suggests that science has replaced religion and therefore emphasises a lack of order, control and security. In contrast to the Great Chain of Being which promoted stability, the stoic concept of 'living for the day' was advocated in Stoppard's context. Both texts pursued metaphysical debate in their respective contexts whilst revealing changes in society when thrust into a world of ferment and confusion.

The structure and form of Hamlet and RAGAD is equivocal in building upon an understanding of the different attitudes and influences in two very unique contexts. The chronological, 5-act structure of Shakespeare's Hamlet reflects fundamental values of order and stability concurring with the symbol of stability, the Great chain of being. The revenge tragedy genre raises political problems and personal reputation in the play. Shakespeare draws a fine line between justice and revenge and in the conclusion justice prevails. The Elizabethan audience was intrigued by characters of greatness and status, and liked to see the downfall of a character of great prestige. RAGAD is polarised to Hamlet, as it is a non linear 3 act structure influenced by the absurdist theatre movement. Absurdist theatre was emerged as a result of post WWII uncertainty, where the only certainty was death, as Ros reflects, "there's only one direction, and time is its only measure". Furthermore the setting as outlined by the stage directions, "a place without any visible character' depicts nihilist ideas of uncertainty and freedom. Existentialism is prevalent in RAGAD as it is important in emphasising that there is no external absolute standard or 'truth'. Each individual is alone in a hostile or indifferent universe and must struggle to make meaning from life. Ros and Guil are incapable of finding meaning in their lives and cannot fall back on an absolute 'truth', as a result of the upheaval of religious values which made existence viable.

In both Hamlet and RAGAD language and metatheatre is an important contribution to the form of both. Meaning was created through words and actions and moved from verse to prose according to stature. Hamlet's only defence is words as revealed through his soliloquies. These soliloquies reveal his emotions, thoughts and established a depth of catharsis with the audience. EXPAND ON SOLILOQUIES In contrast the language used in RAGAD had no meaning to highlight the ambiguity of life influenced by Absurdism as highlighted by Ros, "words, words. They're all we have to go on". Metatheatre, as shown in both texts as a play-within-a-play, reminds the audiences the relationship between theatre and life. Shakespeare wanted to hold up a mirror to life and constantly draws the audiences attention to the fact we are watching a play through asides and soliloquies. Similarly in RAGAD, the player addresses the audience "don't clap too loudly, it's a very old world." Shakespeare and Stoppard analyse the relationship between theatre and life. In transforming a famous tragedy about murder, ghosts, deception and madness into a story about two ordinary men, Stoppard is showing that there can be a tragedy in simply living.

Hamlet contains great and dramatic events focused on a protagonist of great stature, whilst RAGAD looks at the lives of ordinary people marginalised in Hamlet and sees events from their perspective. Hamlet is a tragic hero in birth and a moral character with a 'tragic flaw'. Hamlet's world is built on a clear understanding of the nature of good and evil, divine justice and an ordered universe. Thus Hamlet perceives that there is a sense of justice in fate, "There's a divinity that shapes our ends, rough-hew them how we will..." Hamlet curses and resists his destiny, "O cursed