In Drama + Theory: Critical Approaches to Modern British Drama, by Peter Buse, 50–68. Cambridge: Cambridge University Press.īuse, Peter. ‘Tom Stoppard’s Brit/Lit/Crit.’ In The Cambridge Companion to Tom Stoppard, edited by Katherine Kelly, 203–212. ‘Philosophy and Mr Stoppard.’ In Critical Essays on Tom Stoppard, edited by Anthony Jenkins, 73–87. London: Faber and Faber.īennett, Jonathan. New York: The Noonday Press/Farrar Straus & Giroux.īeckett, Samuel. It is through these contrasts that Stoppard portrays the inability of the protagonists to alter their fate, which leads to the disintegration of their world and the conventions of Western drama.īarthes, Roland. The chapter focuses on the form and function of Stoppard’s deconstructive dialectics and three pairs of contrasts where the application of supplement and dialectical approach is the most noteworthy: action and inaction, memory and amnesia, as well as logic and absurdity. In Rosencrantz and Guildenstern are Dead, there are powerful yet conflicting forces that define Ros’s and Guil’s actions as well as their fictional world these forces keep limiting the characters while leaving them without any sense of structure or purpose. He applies deconstruction as a dialectical method in that he assembles contrasting ideas to reveal voids within Shakespeare’s script and language. At the heart of Stoppard’s supplement is the inclusion of contradictory elements.
His play famously elevates Ros and Guil from the position of minor characters to the status of main protagonists only to show them vainly striving to make sense of fragmentary and metatheatrical scenes from Hamlet.
In Rosencrantz and Guildenstern are Dead, Tom Stoppard skilfully exploits the paradoxical nature of supplement.
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