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Rosencrantz and Guildenstern Are Dead: Summoned to the Theater

  • Journal of Modern English Drama
  • Abbr : JMBARD
  • 2020, 33(3), pp.129-154
  • Publisher : 한국현대영미드라마학회
  • Research Area : Humanities > English Language and Literature > English Literature > Contemporary English Drama
  • Received : November 30, 2020
  • Accepted : December 21, 2020
  • Published : December 31, 2020

KIM,TAI-WOO 1

1국민대학교

Accredited

ABSTRACT

Rosencrantz and Guildenstern Are Dead is a monumental work which catapulted the then unknown Tom Stoppard directly into the main British theater scene. And it fostered a whole variety of criticisms from reviewers and scholars even to the extent that Stoppard argued “the ideas are the end product of the play.” He even argued that all the interpretations of Rosencrantz are “plausible but not calculated.” Then, what could be Stoppard’s motives and practices which ultimately resulted in the creation of Rosencrantz? In an attempt to answer the question, this thesis delves into the relationship between Rosencrantz and his early works such as Lord Malquist and Mr Moon, Albert’s Bridge, and The Real Inspector Hound. And it also investigates the play’s relationship with Next Time I’ll Sing to You by James Saunders, whose influence on Tom Stoppard seems to have been broad and deep. Stoppard’s early works seem to express his interests in, and his experiments with, the medium of drama itself. Rosencrantz is no exception. Though camouflaged under various influences from famous literary works, it properly turns out to be another of his early works.

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