Rosencrantz And Guildenstern Are Dead Essay

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Rosencrantz and Guildenstern: Critical Evaluation of Opening Scenes Tom Stoppard’s film adaption of his play, Rosencrantz and Guildenstern Are Dead, has a distinct difference from its original performance script. From the opening scenes, modifications have been made to change the emphasis on certain ideas. Stoppard subtly changes the meaning of the narrative through emphasising particular aspects in characterisation and changes in the script. With a realistic setting and the point of view created by the camera, the changes are furthered simply by the medium of film. The opening scene of the adaptation differs from that of the play script in that Rosencrantz and Guildenstern are travelling through an ominous, mountain landscape, rather than being still in “a place without any visible character”. With this difference, the audience is given a sense of foreboding about the film, and a link to the inevitable fate of the protagonists. The fact that they are travelling on horses implies that they are coming from somewhere far away, and have a destination, giving them a more human purpose than in the play. The blues music accompanying this scene enhances the starkness of the setting, and gives the impression of a cowboy lifestyle. This idea is supported by their travelling, and the apparent harshness of their situation, however there is little to sustain their being cowboys in later parts of the narrative. Perhaps this was intended by Stoppard, as a way of disorientating the audience, as would the lifeless setting in the play script. Using a camera gives the ability to show a particular image at a certain time and proximity, which lends significance to certain aspects of the film. In having the setting seem realistic, also an attribute of film, Stoppard has been able to accentuate the unrealistic parts of the storyline without losing a sense of realism. As the
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