Existentialism in "Rosencrantz and Guildenstern Are Dead"

Existentialism in Tom Stoppard's "Rosencrantz and Guildenstern Are Dead"

Existentialism is this big philosophical idea where folks try to find meaning in a world that’s, well, pretty darn chaotic. You see this theme all over the place in Tom Stoppard’s play, "Rosencrantz and Guildenstern Are Dead." It's like he took a page out of Shakespeare's "Hamlet" and went deeper into stuff about who we are, why we exist, and how we're all gonna kick the bucket someday. Let's dive into how existentialism pops up in this play by looking at how lost the characters feel about their purpose, the whole free will thing, and how they just can't escape thinking about death.

The Characters’ Struggle with Purpose

So, Rosencrantz and Guildenstern are kind of wandering through life without a clue. They don't really know who they are or what they're supposed to do. It's like an identity crisis on steroids. Rosencrantz even says something like, “We’re actors – we're the opposite of people” (Stoppard, 1967). That line just screams their battle to figure out who they are and find some sort of meaning in their lives.

The Concept of Free Will

Now, these guys spend a lot of time chatting about why they’re here. They're always asking those deep questions: What’s real? Why are we alive? And honestly, what's the point? It kind of aligns with what existentialists go on about. But here's the kicker—while existentialism is all about having the freedom to make your own path, Rosencrantz and Guildenstern don’t seem to have any control over theirs. It’s like someone else is pulling their strings.

Take that coin toss game they keep playing. Every time they flip it, hoping maybe this time it'll land differently so they can feel like they're in charge for once. Spoiler alert—it doesn’t. Always heads! This keeps hammering home the point that their lives might be pre-written scripts and not something they can change.

The Reminder of Mortality

And then there's death—always lurking around every corner in this play. They see other characters biting the dust left and right: Hamlet, Polonius, even some actors from that traveling group. It’s a non-stop reminder that their own end could come at any moment.

The Player is another character worth mentioning because he kind of personifies death itself. His troupe acts out scenes full of dying folks which just makes you think more about how life is fleeting and everybody's got an expiration date whether they like it or not.

Conclusion

"Rosencrantz and Guildenstern Are Dead" makes you think long after the curtain falls. It plays with existential ideas by showing us characters fumbling for purpose while grappling with destiny's grip and facing mortality head-on.

Stoppard nudges us toward reflecting on our own lives—is there meaning hidden somewhere? Or do we need to carve it out ourselves amidst chaos? Life might seem wild sometimes but finding purpose is what matters most—at least according to these guys!

References

• Stoppard, T. (1967). Rosencrantz and Guildenstern Are Dead. Faber & Faber.
• Sartre, J.-P. (1943). Being and Nothingness. Philosophical Library.
• Camus, A. (1942). The Myth of Sisyphus. Hamish Hamilton.
• Kierkegaard, S. (1849). The Sickness Unto Death. C.A Reitzel Forlag.
• Carlson, M.A. (1989). Existentialism in Modern Literature: Examining Freedom & Meaninglessness.
• Esslin, M. (1961). The Theatre of the Absurd. Anchor Books/Doubleday.