"Rosencrantz & Guildenstern Are Dead" has a strong theatrical stage style, and has a novel sense of absurdity in its performance techniques. Director and screenwriter Tom Stoppard integrates his dramatic talents and linguistic talents into deconstruction in a philosophical context, and reconstructs a seemingly familiar but completely new "irrational world" in the form of rationality. The opening, climax, and ending were all used by him to create a variety of alienated and cordially absurd images, and the reversed relationship between the characters and the established death fate in the film all hinted at the chaos, disorder and ambiguity of life in the wave of time and space. Stoppard seems to be using this play to insinuate the destiny that everyone cannot escape. People are like a drop of water in the tide of history. One day, the tide rises high and is pushed to the top of history, being manipulated left and right, up and down , One day the tide receded and the waves disappeared, and they could not help but merge into the waves of the sea, and disappeared ever since. Under the push of fate, everyone falls into the one-way trend of time, feeling the helplessness brought about by the nihilism of history and the alienation of the world
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Rosencrantz & Guildenstern Are Dead evaluation action
2022-01-13 08:01
Extended Reading
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Jennifer 2022-03-25 09:01:16
The 47th Golden Lion is awesome! The fanciful black absurd drama, which is derived from "Hamlet", leaves behind the "cliché" of the Danish prince, and pushes the two little people ruthlessly to the wheel of history, looking at the material world on which they live, thinking about life and death The ultimate philosophical proposition of the play, the nesting of the play within the play characterizes the two dragon sets as the witnesses and grave diggers of their own destiny.
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Pattie 2022-03-16 09:01:06
The charm and absurd tone of the language. (How many heads has GO said at the beginning~~????
Rosencrantz & Guildenstern Are Dead quotes
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Rosencrantz: Did you ever think of yourself as actually dead, lying in a box with a lid on it?
Guildenstern: No.
Rosencrantz: Nor do I, really. It's silly to be depressed by it. I mean, one thinks of it like being alive in a box. One keeps forgetting to take into account the fact that one is dead, which should make all the difference, shouldn't it? I mean, you'd never *know* you were in a box, would you? It would be just like you were asleep in a box. Not that I'd like to sleep in a box, mind you. Not without any air. You'd wake up dead for a start, and then where would you be? In a box. That's the bit I don't like, frankly. That's why I don't think of it. Because you'd be helpless, wouldn't you? Stuffed in a box like that. I mean, you'd be in there forever, even taking into account the fact that you're dead. It isn't a pleasant thought. Especially if you're dead, really. Ask yourself, if I asked you straight off, "I'm going to stuff you in this box. Now, would you rather be alive or dead?" naturally, you'd prefer to be alive. Life in a box is better than no life at all, I expect. You'd have a chance, at least. You could lie there thinking, "Well, at least I'm not dead. In a minute somebody is going to bang on the lid, and tell me to come out."
[bangs on lid]
Rosencrantz: "Hey you! What's your name? Come out of there!"
Guildenstern: [long pause] I think I'm going to kill you.
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Rosencrantz: Whatever became of the moment when one first knew about death? There must have been one. A moment. In childhood. When it first occured to you that you don't go on forever. Must have been shattering. Stamped into one's memory. And yet, I can't remember it. It never occured to me at all. We must be born with an intuition of mortality. Before we know the word for it. Before we know that there are words. Out we come, bloodied and squawling, with the knowledge that for all the points of the compass, theres only one direction. And time is its only measure.