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The Stagecraft of Rosencrantz and Guildenstern are Dead "a bad player, that struts and frets his hour on the stage, and then is heard no more" This quote from Macbeth is an ideal overview of the storyline of Rosencrantz and Guildenstern are Dead. The dramatisation of the lives of these two unremarkable and nearly extraneous characters from Hamlet is a improbable foundation for "among those mostengaging of postwar plays" (Daily Telegraph). However, because with Samuel Beckett's absurdist play "Waiting for Godot" the originality of Stoppard's idea is not enough in itself to create a masterpiece and it is the genius of the stagecraft and composing that determines this play as a classic. The presentation of these two characters is a significant characteristic of the stagecraft. Neither Rosencrantz nor Guildenstern always abandon the stage throughout the play until their deaths. They may be the central focus that immediately contrasts with their relative unimportance in Hamlet. The visual effect of their being dressed in Elizabethan clothes is invisibly with their modern kind of speech. It's funny that their identities appear to be interchangeable; Guildenstern himself investigates this stage in Act II, Guil: Rosencrantz Ros: (absently) What's Pause, brief. Guil: Guildenstern Ros: (annoyed from the repetition) What? Guil: Don't you discriminate whatsoever? While the other characters such as Gertrude and Hamlet appear to be uncertain who chooses which name, the fact that they themselves are similarly confused augments this funny idea. How they act and what they do are both essential factors in establishing their personalities and Stoppard comprises comprehensive stage directions in the script. In Act II there a.. .