Play Tom Stoppard's 'Rosencrantz and Term Paper

'Both periods' she says 'are caught up the exhilaration and fearfulness of living inside a gap in history, whenthe paradigms that structured the past seem facile and new paradigms uncertain'. The alignment of the Renaissance reality with the existentialist void of the 20th century allows Stoppard to bring to life what the Player King points out, that 'every exit is an entrance somewhere else'

In Conclusion let us just say that a play such as 'Rosencrantz and Guildenstern are dead' allows keyholes for readers to peek through and numerous vents for various interpretations to emerge out of. Despite the initial confusion that it tends to invite 'Rosencrantz and Guildenstern..' continues to be a play which illuminates and heartens. Once you warm up to Stoppard's style (and one admits such warming up as a necessary premise) there is no limit as to the horizons he can take you to. Through all his literary experiments and 'verbal and theatrical sophistication' Stoppard emerges as a gifted amalgamator and more importantly an ingenious playwright.Bibliography

Cahn, Victor L. Beyond Absurdity: The Plays of Tom Stoppard (Teaneck: Fairleigh Dickinson University Press, 1979)

Egan Robert a Thin Beam of Light: The Purpose of Playing in "Rosencrantz and Guildenstern

Are Dead" Theatre Journal, Vol. 31, No. 1. (Mar., 1979), pp. 59-69.

Jenkins, Anthony. Critical Essays on Tom Stoppard (Boston G.K. Hall, 1990)

Keyssar-Franke Helene the Strategy of "Rosencrantz and Guildenstern Are Dead" Educational Theatre Journal, Vol. 27, No. 1. (Mar., 1975)

Stoppard, Tom. Rosencrantz and Guildenstern Are Dead (London:….....