Rosencrantz and Guildenstern are Dead by Tom Stoppard, a tragicomedy written in the 1960s, is a comedy that is the continuation of "Hamlet", which exposes the events faced by both Rosencrantz that Guildenstern on their arrival in England. The play "Rosencrantz and Guildenstern are Dead" belongs to the theater of the absurd, in the sense that it is a theatrical style that centers the absurdity and randomness of human frailty through frequent inconsistent and iterative dialogues, followed by a plot that is often devoid of pragmatism. progression accompanied by characters often involved in enigmatic and incomprehensible situations. Rosencrantz and Guildenstern show this, as they are unable to keep up with their surroundings and sequential events. Furthermore, throughout the play, they continue to be uncertain about the purpose of their presence and their own absolute values, as well as making sense of their destiny. Since 'Rosencrantz and Guildenstern are Dead' demonstrates events that reject realism, it is perceived as having the necessary elements and as the performance of an absurd work. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay As seen in traditional theater, characters possess clearly defined roles with established desires and motivations; however, since Rosencrantz and Guildenstern are characters from the theater of the absurd, these are not the traits they possess and this is done right at the beginning of the play. A game of heads and tails is what opened the game, a game in which Rosencrantz wins, as the coin lands on heads a total of ninety-two times in a row. A very unusual circumstance that may seem impossible; however, since there is a fifty-fifty chance that a coin will land on heads or tails, the score makes sense to science. This opening illustrates the unfathomable and dark sense of their environment. The opening of the work with strange events exposes the absurd manner of its atmosphere. Following the incident, the demonstration of the incorporation of wordplay and theory by articulating evidence that shows sense in an insensitive matter further conveys the absurdity within the work. This can be seen when Guildenstern shares his ideology as to why the coin landed on heads more than tails, '...time stood still...', '...the probability is that the law of probability does not you operate as a factor...'. Both Rosencrantz and Guildenstern are often incomprehensible to each other during their philosophical discussions that often occur throughout the play, as Rosencrantz is perceived as more naïve and naïve than Guildenstern, who is more aware of his social environment. However, both Rosencrantz and Guildenstern struggle to understand the circumstances they face from the beginning to the end of the play. This further illustrates elements of the theater of the absurd, revealing the extent to which "Rosencrantz and Guildenstern are Dead" belongs to that theatrical style. An underlying theme of the work is the futility of life, which also plays a crucial factor in the theater of the absurd. absurd, as it is often allied with existentialism. Rosencrantz and Guildenstern often converse on meaningless topics; However, even when they philosophize about the meaning of life, their words lose their meaning. Specific to Rosencrantz is a conversation between him and a player in which they discuss death, "ROS: So he's dead." He's dead as far as we're concerned,' 'PLAYER: Or we are, as far as he's concerned.' In this conversation, the contrast between Rosencrantz's perception of death and that of the player is shown. However, their words are ambiguous and do not convey a.