Tom Stoppard's play, Rosencrantz and Guildenstern Are Dead, draws on two previous theatrical works: Shakespeare's Hamlet and Samuel Beckett's Waiting for Godot. Rosencrantz and Guildenstern Are Dead follows the "off-stage" exploits of two minor characters from Hamlet, Rosencrantz and Guildenstern. While the two main characters in Stoppard's play occasionally make brief appearances in "Hamlet," as scripted in Shakespeare's original tragedy, the majority of the play takes place in other parts of the castle where Hamlet is set. While "off stage" in this way, the characters resemble the main characters in the absurdist Waiting for Godot. As in Beckett's play, Rosencrantz and Guildenstern pass the time by impersonating other characters, engaging in word play, and remaining silent for long periods of time. These same two characters were also featured in a parody of Hamlet, the short comic play by W. S. Gilbert entitled Rosencrantz and Guildenstern. Gilbert's play makes Rosencrantz and Guildenstern into central characters and alters the storyline of Hamlet.
The author of this passage is describing
Group of answer choices
intellectual arguments about Shakespeare's characters
theatrical adaptations of Shakespeare's characters
problematic depictions of Shakespeare's characters
misunderstood representations of Shakespeare's characters
Answers: 1
English, 22.06.2019 03:50
Juanito. hey, don't leave yet. what type of work? and where? who do i see? hey, don't leave yet! the duende. (the duende stops and turns). be careful. danger. danger. (he exits.) —blanca flor, angel vigl read these lines from the play again, then rewrite them as they might appear in a novel. the answer is 'hey, don't leave yet," cried juanito. "what type of work? and where? who do i see? hey, don't leave yet! " the duende stopped and turned back to juanito. "be careful. danger," he warned. as he turned to leave, he repeated: "danger."
Answers: 1
English, 22.06.2019 06:00
Read the excerpt from act 3 of a doll’s house. mrs. linde: you seemed to me to imply that with me you might have been quite another man. krogstad: i am certain of it. mrs. linde: is it too late now? krogstad: christine, are you saying this deliberately? yes, i am sure you are. i see it in your face. have you really the courage, then—? mrs. linde: i want to be a mother to someone, and your children need a mother. we two need each other. nils, i have faith in your real character—i can dare anything together with you. krogstad [grasps her hands]. , , christine! now i shall find a way to clear myself in the eyes of the world. ah, but i forgot— how does the conflict in this passage develop a theme? mrs. linde creates a conflict by promising something she cannot give to krogstad, which develops the theme that empty promises can destroy relationships. krogstad continues the conflict by choosing clearing his name over having a life with mrs. linde, which develops the theme that you must often choose yourself over others. krogstad creates a conflict by deceiving mrs. linde about his intentions, which develops the theme that, in love, actions speak louder than words. mrs. linde resolves the conflict by committing to a new life with krogstad, which develops the theme that new beginnings are always possible.
Answers: 1
English, 22.06.2019 06:40
What structural choice can a translator make to set a desperate or frantic tone? o a. character dialogue o b. setting changes o c. sentence length o d. plot order submit
Answers: 3
Tom Stoppard's play, Rosencrantz and Guildenstern Are Dead, draws on two previous theatrical works:...
Mathematics, 13.11.2019 06:31
Mathematics, 13.11.2019 06:31
Mathematics, 13.11.2019 06:31
Mathematics, 13.11.2019 06:31
English, 13.11.2019 06:31
History, 13.11.2019 06:31
Mathematics, 13.11.2019 06:31
Law, 13.11.2019 06:31
Mathematics, 13.11.2019 06:31
Biology, 13.11.2019 06:31
Chemistry, 13.11.2019 06:31
Geography, 13.11.2019 06:31
English, 13.11.2019 06:31
Spanish, 13.11.2019 06:31