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Rosencrantz and Guildenstern Are Dead (1966)

– tekijä: Tom Stoppard

Muut tekijät: Katso muut tekijät -osio.

JäseniäKirja-arvostelujaSuosituimmuussijaKeskimääräinen arvioMaininnat
7,14078997 (4.19)174
Rosencrantz and Guildenstern Are Dead is a play which, as it were, takes place in the wings of Hamlet, and finds both humour and poignancy in the situation of the ill-fated attendant lords. The National Theatre production in April 1967 made Tom Stoppard's reputation virtually overnight. Its wit, stagecraft and verbal verve remain as exhilarating as they were then and the play has become a contemporary classic.… (lisätietoja)
  1. 121
    Hamlet (tekijä: William Shakespeare) (guyalice, kxlly)
    guyalice: Reasons should be obvious
  2. 100
    Huomenna hän tulee (tekijä: Samuel Beckett) (guyalice)
    guyalice: Stoppard's play's been called "Waiting for Hamlet," as both are existentialist plays featuring a pair of clueless (yet tragic) idiots.
  3. 10
    The Real Inspector Hound (tekijä: Tom Stoppard) (palaephata)
  4. 21
    The Reduced Shakespeare Co. presentsThe Compleat Works of Wllm Shkspr (tekijä: Adam Long) (meggyweg)
  5. 00
    Our Town (tekijä: Thornton Wilder) (CGlanovsky)
    CGlanovsky: Both (in vastly different tones) play with the awareness that the events are part of a play
  6. 00
    Jean Paul Marat'n vaino ja murha : Charentonin sairaalan näyttelijäryhmän esittämänä ja herra de Saden ohjaamana : (tekijä: Peter Weiss) (CGlanovsky)
    CGlanovsky: Plays about plays with absurdist humor
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» Katso myös 174 mainintaa

Näyttää 1-5 (yhteensä 78) (seuraava | näytä kaikki)
Just, eh. I know a lot of people love it but I don't see what's to great about it. Maybe I read it too quickly or didn't dig deep enough but this book just didn't really do it for me. It's short enough that I didn't feel like I wasted my time reading it though. I did however recently see a short bit of the film adaption in which R&G are flipping a coin and enjoyed it quite thoroughly (the class that day was on randomization and probability) so perhaps I should revisit it now that I'm a bit older. ( )
  nosborm | Oct 10, 2021 |
Works like this are proof that the boundary between fanfiction and independent art is completely arbitrary, and perhaps totally meaningless. Yes, this play is a derivative work of Hamlet, but not only does it not really require you to have read its famous forebear (although you certainly should, for many reasons beyond giving this some context), but Stoppard's reflections on mortality, chance, and the contingency of life stand on their own. There is no reason whatsoever that philosophy can't be funny, and even on the page the dialogue and action is hilarious, as poor old R & G wander through this frequently metafictional work that fills in the gaps of Hamlet, meeting their ultimate fate in a way that's both inevitable given what happens without their knowledge in Hamlet as well as poignant purely on its own. I could go on and on about how skillfully Stoppard uses tropes like the play-within-a-play, or how he nods to other famous existentialist works like Waiting For Godot, but this is about as close to a perfect comic play as it gets these days. ( )
  aaronarnold | May 11, 2021 |
"... we move idly towards eternity, without possibility of reprieve or hope of explanation." (pg. 88)

An odd, oh-so-clever play, and at times I thought I ought to hate it. The dialogue is drawn out and regurgitative, and the jokes are sometimes laboured, like a misfiring comedy sketch. It's hard to piece together what Stoppard is trying to do at times – it can seem a bit throwaway.

Nevertheless, once you do piece together what the play's trying to do, it becomes much more interesting. It takes two bit-part players from Shakespeare's Hamlet – the titular Rosencrantz and Guildenstern – and focuses on them as they wait in the wings and the plot of Hamlet whirls around them. Shakespeare is good material for this – "every exit being an entrance somewhere else," Stoppard reasons (pg. 22) – not least because the Bard often referenced plays and parts and players within his plots. He was meta long before that was a thing. Stoppard not only does well to identify this fruitful territory, but has fun with the more obvious jokes too (for example, Ros and Guil are bemused by the fact that Hamlet talks to himself – i.e. in his soliloquies).

Stoppard also takes the opportunity to use his premise to get rather existential. Our two bit-part players are trying to figure things out – what their purpose is, their motivations and loyalties and so on, as kings and princes scheme dramatically around them. They're not given direction, not as characters nor as human beings. "We have not been picked out simply to be abandoned... set loose to find our own way... We are entitled to some direction, I would have thought" (pg. 16). Don't we all feel that way, in life? All the world's a stage, as I believe someone once wrote – though the name escapes me.

Again, this is in the tradition of Hamlet, which gave us those famous lines "to be or not to be", among others. For all his misfiring absurdist tempo, some of Stoppard's own inclusions (such as death being "just a man failing to reappear" (pg. 62)) prove him worthy of his source. Life, and the play, are only bearable due to "the irrational belief that somebody interesting will come on in a minute" (pg. 31), and Stoppard does enough to keep this interest going until the final curtain. That's all any of us can do. ( )
1 ääni MikeFutcher | May 9, 2021 |
Rosencrantz & Guildenstern Are Dead - meta-teatro por excelência - o teatro sobre o próprio teatro - é uma de minhas peças favoritas. Segue dois personagens irrelevantes de Hamlet (irrelevantes porque, embora servissem a um propósito significativo, não eram desenvolvidos em profundidade por Shakespeare) como indivíduos. Os personagens tropeçam em seu caminho através do filme, sem saber das consequências de suas ações ou de seu significado ou importância. É um texto sobre dois personagens que desconhecem por completo a magnitude dos acontecimentos que os rodeiam. Isso também é evidenciado em suas descobertas acidentais de descobertas científicas históricas significativas (como o conceito de gravidade). A peça também aborda o conceito de destino predeterminado. O destino de Rosencrantz e Guildenstern já está determinado antes de a cortina se abrir. E embora desempenhem um papel importante em uma das maiores histórias já contadas, eles desconhecem completamente seu destino; são meras vítimas das circunstâncias. ( )
  jgcorrea | Nov 6, 2020 |
I do so love this play! Of course, I love anything and everything Tom Stoppard writes! I have a similar love of language and semantics, and consequently I find his plays very satisfying intellectually.

That being said - I actually like the movie version of Rosencrantz & Guildenstern better. The screenplay was written by Mr. Stoppard and he was able to all sorts of narratively and visually interesting things that couldn't be done onstage. He was able to expand and improve the work in a different medium. If you haven't seen the screen adaptation, I highly recommend it! ( )
1 ääni johnthelibrarian | Aug 11, 2020 |
Näyttää 1-5 (yhteensä 78) (seuraava | näytä kaikki)
This is a most remarkable play. Very funny. Very brilliant. Very chilling.
lisäsi keeper3014 | muokkaaThe New York Times
 
Rosencrantz & Guildenstern are Dead [is] verbally dazzling...the most exciting, witty intellectual treat imaginable.
lisäsi keeper3014 | muokkaaThe New Yorker, Edith Oliver
 

» Lisää muita tekijöitä (8 mahdollista)

Tekijän nimiRooliTekijän tyyppiKoskeeko teosta?Tila
Stoppard, Tomensisijainen tekijäkaikki painoksetvahvistettu
Popkin, HenryToimittajamuu tekijäeräät painoksetvahvistettu
Sinun täytyy kirjautua sisään voidaksesi muokata Yhteistä tietoa
Katso lisäohjeita Common Knowledge -sivuilta (englanniksi).
Kanoninen teoksen nimi
Alkuteoksen nimi
Teoksen muut nimet
Alkuperäinen julkaisuvuosi
Henkilöt/hahmot
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Tärkeät paikat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Tärkeät tapahtumat
Kirjaan liittyvät elokuvat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Palkinnot ja kunnianosoitukset
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Epigrafi (motto tai mietelause kirjan alussa)
Omistuskirjoitus
Ensimmäiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Two ELIZABETHANS passing the time in a place without any visible character.
Sitaatit
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Fear! The crack that might flood your brain with light!
I'm demonstrating the misuse of free speech. To prove that it exists.
We are tied down to a language which makes up in obscurity what it lacks in style.
Viimeiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
(Napsauta nähdäksesi. Varoitus: voi sisältää juonipaljastuksia)
Erotteluhuomautus
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
This is the play. Please do not combine with the movie or the screenplay for the movie.
Julkaisutoimittajat
Kirjan kehujat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Alkuteoksen kieli
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Kanoninen DDC/MDS
Kanoninen LCC

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Englanninkielinen Wikipedia

-

Rosencrantz and Guildenstern Are Dead is a play which, as it were, takes place in the wings of Hamlet, and finds both humour and poignancy in the situation of the ill-fated attendant lords. The National Theatre production in April 1967 made Tom Stoppard's reputation virtually overnight. Its wit, stagecraft and verbal verve remain as exhilarating as they were then and the play has become a contemporary classic.

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