Author waiting for godot6/12/2023 This uncommon approach to writing dramatic action gives the plays a similar tonal quality: “Like Beckett, Stoppard uses the fact of enforced passivity as a trampoline for conversational bounces which are both energetic and entertaining” (Hayman 36). An essential factor in the dialogue both between Stoppard’s Rosencrantz and Guildenstern, and Beckett’s Vladimir and Estragon is that the characters are completely at the mercy of their situations. The tonal similarities between the plays are exemplified in their defining use of situation and given circumstances. Tom Stoppard’s Rosencrantz and Guildenstern are Dead is clearly written in conversation with Samuel Beckett’s Waiting for Godot. It was as simple as that There we all were bursting a gut with great monologues and pyrotechnics, and this extraordinary genius just put this play together with enormous refinement, and them with two completely unprecedented and uncategorizable bursts of architecture in the middle–terrible metaphor–and there it was, theatre!” –Tom Stoppard ( First Interview with Tom Stoppard, 12 June 1974) It redefined the minima of theatrical validity. “At the time when Godot was first done, it liberated something for anybody writing plays.
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