A Study on the Parody Technique in Rosencrantz and Guildenstern are Dead
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The purpose of this study is to understand what Tom Stoppard's work, Rosencrantz and Guildenstern are Dead (1966), intends to present to audiences and readers through a parody technique. Stoppard uses the technique of parody in his absurd work and has the effect of subversiveness. Basically, just as parody elicits satire and antics, Rosencrantz and Guildenstern are Dead parodies Shakespeare's tragic work Hamlet. Stoppard portrays Rosencrantz and Guildenstern, the main characters in this work, as marginal characters. To achieve this strategy, Stoppard uses the characteristics of the characters Vladimir and Estragon in Samuel Beckett's Waiting for Godot as a parody. Because of this strategy, the desire for kingship, revenge, and the chaotic state order presented in Hamlet's work can not be found in Rosencrantz and Guildenstern Are Dead. In this work, Rosencrantz and Guildenstern play the role of an audience and an actor while experiencing a play within a play. Through these experiences, the identity confusion between the two is intensifying. The situation of Rosencrantz and Guildenstern, experiencing uncertainty about the future, confusion of identity, and anxiety caused by the acceptance of an irresistible fate, is a self-portrait of us living in the 21st century.
Abstract
The purpose of this study is to understand what Tom Stoppard's work, Rosencrantz and Guildenstern are Dead (1966), intends to present to audiences and readers through a parody technique. Stoppard uses the technique of parody in his absurd work and has the effect of subversiveness. Basically, just as parody elicits satire and antics, Rosencrantz and Guildenstern are Dead parodies Shakespeare's tragic work Hamlet. Stoppard portrays Rosencrantz and Guildenstern, the main characters in this work, as marginal characters. To achieve this strategy, Stoppard uses the characteristics of the characters Vladimir and Estragon in Samuel Beckett's Waiting for Godot as a parody. Because of this strategy, the desire for kingship, revenge, and the chaotic state order presented in Hamlet's work can not be found in Rosencrantz and Guildenstern Are Dead. In this work, Rosencrantz and Guildenstern play the role of an audience and an actor while experiencing a play within a play. Through these experiences, the identity confusion between the two is intensifying. The situation of Rosencrantz and Guildenstern, experiencing uncertainty about the future, confusion of identity, and anxiety caused by the acceptance of an irresistible fate, is a self-portrait of us living in the 21st century.
참고문헌 (15)
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