Viewport width =
February 27, 2006 | by  | in Theatre |
Share on FacebookShare on Google+Pin on PinterestTweet about this on Twitter

Rosencrantz & Guildenstern Are Dead (1967)

This play takes place ‘behind the scenes’ of Hamlet and starts with my favorite scene (so far anyway) that English language theatre has to offer. The protagonists are playing the Elizabethan equivalent of heads or tails and the coins they are using fall heads over and over again. Thus begins the most hilariously absurd metaphysical/philosophical debate about probability, reality and normality with Guildenstern angrily questioning the nature of the universe and Rosencrantz remaining completely indifferent to the whole affair. Brilliant! It also does a great piss-take of the classic Shakespearian device of the ‘play within a play’:

“For a handful of coin I happen to have a private and uncut performance of The
Rape of the Sabine Women, or rather woman, or rather Alfred, and for eight you can participate.”

Share on FacebookShare on Google+Pin on PinterestTweet about this on Twitter

About the Author ()

Salient is a magazine. Salient is a website. Salient is an institution founded in 1938 to cater to the whim and fancy of students of Victoria University. We are partly funded by VUWSA and partly by gold bullion that was discovered under a pile of old Salients from the 40's. Salient welcomes your participation in debate on all the issues that we present to you, and if you're a student of Victoria University then you're more than welcome to drop in and have tea and scones with the contributors of this little rag in our little hideaway that overlooks Wellington.

Comments are closed.

Recent posts

  1. Interview with Dr Rebecca Kiddle
  2. The Party Line
  3. Te Ara Tauira
  4. Robotic Legs, “Inspiration”, and Disability in Film
  6. VUWSA
  7. One Ocean
  8. Steel and Sting
  9. RE: Conceptual Romance
  10. Voluntary WOF a Step in the Right Direction

Editor's Pick


: - SPONSORED - I have always thought that red was a sneaky, manipulative colour for Frank Jackson to choose in his Black and White Mary thought experiment. It is the colour of the most evocative emotions, love and hate, and symbolises some of the most intense human experiences, bi