tom stoppar The text of this play may be a bit peculiar, because many of the dialogues and passages are enclosed in square brackets, and the parts so treated can be cut according to the choice. Rosencrantz and Guilderstern are Dead has no definitive script: the New York version differs from the London version in many textual details, and the script for the American tour differs from either.I doubt even the script of a show will be the same in any two places in the world.This makes sense to me.A joke that's good in London may not be funny in Milan (or New Orleans), and there's little value in keeping it just because it was in the original script.Likewise, an expensive show with thirty-six actors and great visuals might take over three hours, whereas a very simple, small-scale show would probably do well in a two-hour version .So, on the one hand, I hope that each director can control the length and complexity of each performance (usually), and on the other hand, I also want to mark the part of the play where the director can freely handle the script.

Of course, if there is a director who feels that he needs every word in the script, even though he only uses a dozen or so actors in plain clothes and does not need sets, I will fully support it.Directors are also free to use some or all of the excitable parts of the script. One of these deletions requires explanation.There is a scene in the script that is enclosed in double square brackets.The play did not have this part when it premiered at the Edinburgh Festival.It was written for its London premiere.In at least one subsequent performance this part was absent, and in other performances the scene was simplified, that is, the portion of the scene enclosed in single brackets.

This "new" scene was added to the script, and there were arguments for and against, but of course these debates depended mainly on a specific performance, so as far as the big decision (and the small ones are concerned) ), I think it is better for the director to choose.But I will make the point that this scene comes at a critical juncture - right after the "false ending" of Act Two, which I've seen in a performance or two not very well paced and the audience It's a bit confusing, and it's not clear why until the real end. Finally, I would like to make myself a general comment. "Rosencrantz and Guilderstern Are Dead" is a comedy, whether it be or something else.I meant it to be funny.If this drama doesn't make people laugh, I'll feel like I've failed.It's great that someone has written a lot of serious academic writing about this play, and I'm very honored, but it's worth remembering that out of all the shows that have been put on in the world, two of them have been relatively flops, and those two Both performances were lost by taking the script too seriously.