Comparing Tom Stoppard's Rosencrantz And Guildenstern Are Dead

Introduction What is life after death? Humankind has spent countless millenniums looking for a probable answer. While many have provided opinions on the matter, mankind is no closer to finding the ultimate purpose as a species during life, nor after death. Tom Stoppard’s play Rosencrantz and Guildenstern Are Dead proposes questions and theoretical ideas on the subject of death and its meaning. Though no answers are clearly provided, Stoppard’s play demands the audience to question themselves as “humans in uncertain world” and analyze the rhetorics that are given to them.
A director must know how to accurately place movement, lighting, and set pieces on the stage to allow the audience to fully understand the in-depth meaning of a specific scene. In the second act, the tragedians perform a play for Rosencrantz and Guildenstern that, unknowingly to Rosencrantz and Guildenstern, lays out the
The Player and his tragedians then take center stage and begin performing a dumbshow. The lights will be dimmed at this point, and then music will start playing. Two tragedians, one dressed as a queen and the other as a king, begin the show with an embrace. The king tragedian then pretends to lie down, and the queen tragedian walks off stage left. Another tragedian, the poisoner, walks on stage, grabs the crown that is on the sleeping tragedian’s head, kisses it, then places it back down. He pulls out a bottle of liquid, pours it into the sleeping tragedian’s ear, and leaves. The queen then enters back from stage left, tries to awake the king tragedian, only to find him dead. The poisoner enters again with two other men and then gestures to these men to carry the dead body away. When the two men and the dead body leave the stage, the poisoner tragedian consoles the queen tragedian and then woos her with