Tom Stoppard's play Rosencrantz and Guildenstern are Dead and the play it was based on, Shakespeare's Hamlet, acting is a major theme and motif. Especially in Rosencrantz and Guildenstern are Dead, acting signifies the falsity, absurdity, and superf Continue Reading...
'Both periods' she says 'are caught up the exhilaration and fearfulness of living inside a gap in history, whenthe paradigms that structured the past seem facile and new paradigms uncertain'. The alignment of the Renaissance reality with the existen Continue Reading...
The two characters are subject to fate and to the impossibility of choice. They cannot decide for their own on the course of their life. The continuous flipping of the coin is relevant in this sense, as the two, while waiting for the decision on the Continue Reading...
Instead, we find two highly actionable and yet passionless men. In Rosencrantz and Guildenstern, Stoppard has fleshed out two men inevitably bound to their fates by the passions and wills of those around them, creating a compelling discussion on the Continue Reading...
Yet despite the fact that the play's title is nothing but his name, Othello is arguably not really the central figure of the story. Iago is far more instrumental in moving the plot forward; it is his (not fully explained) hatred of Othello that the Continue Reading...
That in itself is startling, but there are precedents for mystical encounters of various kinds, or to be less extreme, a choice of persuasions to put it down to fancy; until -- "My God," says a second man, "I must be dreaming, I thought I saw a unic Continue Reading...
