2008 biblio/books (?) [ Hamlet2.0 ] calendar08 ... 1990: From rg08 ...

appendix

Hamlet Pages

hamletmachine http://shows.vtheatre.net/muller.html

* The play had its first incarnation as a 1964 one-act, Rosencrantz and Guildenstern Meet King Lear. UK

list

faq

links

http://www.umass.edu/theater/dramaturgy/randg/play.html Dramaturgy Program Department of Theater- UMass Amherst 2003

http://www.mala.bc.ca/~johnstoi/introser/stoppard.htm Lecture on Stoppard, Rosencrantz and Guildenstern Are Dead

http://en.wikipedia.org/wiki/Rosencrantz_&_Guildenstern_Are_Dead

http://www.gradesaver.com/classicnotes/titles/rosencrantz/

2007 : pre-production

filmplus.org/plays/2008 Auditions [ texts ]

... http://www.utexas.edu/utpress/excerpts/exflesto.html Stoppard's Theatre Finding Order amid Chaos By John Fleming 2001

Rosencrantz and Guildenstern Are Alive: A Note on Al and Max in Hemingway's "The Killers." Journal article by Steven Carter; The Hemingway Review, Vol. 17, 1997 :

To demonstrate that one person is a rubber stamp, a sort of amoral clone who has no separate identity from another person, the authors choose to create two characters who are doppelgangers. Because the doubled lines spoken by each make the characters redundant, they are subtracted, as it were, from two entities to one: 2 = 1. This is what happens in the doublings from group A. The situation is the same in the doublings from group B, except that in making his own lines redundant, each entity literally assigns to himself the ontological status of no one, and the numbers change to 1 = 0. The final equation, which distills the ontology of indifference to its very essence, is, therefore, 2 = 1 = 0. Perhaps Hemingway had this numerical principle in mind when he remarked to critic Harvey Breit that he had been "working in a new mathematics" (qtd. in "Authors and Critics Appraise Works," 6). If so, Hemingway's new math wasn't really new at all, for what Hamlet says of Claudius applies to Rosencrantz and Guildenstern as well: "The King is a thing ... of nothing." (IV.ii.27, 29). Like Shakespeare's ontological twins, Hemingway's Al and Max are also double-talking personifications of complementarity: things of nothing.

* Stoppard began writing Rosencrantz and Guildenstern are Dead in 1964 and it was first performed in 1966 at the Edinburgh Fringe Theatre. [ * ]

... director's notes & images -- http://picasaweb.google.com/anatoly.antohin/Rg08

... set ideas -- http://igbidesign.com/pdfs/r_and_g.pdf

http://www.filmeducation.org/filmlib/RosenGuild.pdf ***

"R & G are Undead" :

"Before winning an Oscar as a writer of Shakespeare in Love, Tom Stoppard delivered another ingenious comic retelling involving the Bard of Stratford-upon-Avon. In 1967 he dove into the world's most famous play, Hamlet, and retold it from the point of view of two bumbling support players. The entire world is a stage, and Rosencrantz and Guildenstern play their part, finding themselves unwitting pawns in history's greatest tragedy.

This contemporary classic of the theater was the winner of both the Tony and NY Drama Critics Circle awards when it premiered. Simply: Rosencrantz and Guildenstern are the college chums of Shakespeare's Hamlet, and this is the story of what "really" happened behind the scenes. What were they doing there in Elsinore anyway? The Players come and go; Hamlet comes through reading words, words, words; foul deeds are done; Hamlet is sent abroad, escapes death; and in turn Rosencrantz and Guildenstern find their only true exit.

Rosencrantz and Guildenstern are Dead has also drawn many parallels to another play – Samuel Beckett's absurdist Waiting for Godot, particularly in the main characters' feelings of lack of purpose and incomprehension of their situation.

In 1991, the play was turned into a film featuring Tim Roth and Gary Oldman as the title characters and Richard Dreyfuss as the Lead Player. The film won a Golden Lion at the Venice Film Festival." http://www.jobsitetheater.org/rosandguil.asp

direct.vtheatre.net -- forms : costumes, stage manager