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Rosencrantz and Guildenstern have been summoned to the court of Denmark by Queen Gertrude to lift Prince Hamlet's melancholy mood. They engage Hamlet, Ophelia, and other courtiers in word games and philosophical discussions about the nature of death and madness. Rosencrantz and Guildenstern devise a plan to have Hamlet perform a play depicting the murder of King Hamlet in hopes of eliciting a reaction from Claudius. The play is performed, with unexpected results.
Rosencrantz and Guildenstern have been summoned to the court of Denmark by Queen Gertrude to lift Prince Hamlet's melancholy mood. They engage Hamlet, Ophelia, and other courtiers in word games and philosophical discussions about the nature of death and madness. Rosencrantz and Guildenstern devise a plan to have Hamlet perform a play depicting the murder of King Hamlet in hopes of eliciting a reaction from Claudius. The play is performed, with unexpected results.
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Rosencrantz and Guildenstern have been summoned to the court of Denmark by Queen Gertrude to lift Prince Hamlet's melancholy mood. They engage Hamlet, Ophelia, and other courtiers in word games and philosophical discussions about the nature of death and madness. Rosencrantz and Guildenstern devise a plan to have Hamlet perform a play depicting the murder of King Hamlet in hopes of eliciting a reaction from Claudius. The play is performed, with unexpected results.
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CLAUDIUS: Well loved and faithful wife/Tender companion of my faltering life,/Yes, I can trust thee! Listen, then, to me :/Many years since - when but a headstrong lad-/I wrote a five-act tragedy. QU: Indeed? And did the play succeed? CL.: In one sense, yes. QU: And how long did it run? CL: About ten minutes. Ere the first act had traced one-half its course/The curtain fell, never to rise again! QU: And did the people hiss? CL: No, worse than that./They laughed. Sick with the shame that covered me,/I knelt down…and prayed. QU: Was it, my lord, so very, very bad? CL: Not to deceive my trusting Queen, it was./The play was not good – but the punishment/Of those that laughed at it was capital. QU: Think no more, my lord. Now mark me well:/To cheer our son, whose solitary tastes and tendency to long soliloquy/Have much alarmed us,I, unknown to thee,/have sent for Rosencrantz and Guildenstern – two merry knaves, kin to Polonius,/Who will devise such revels in our Court/Such harmless merriment/As shall abstract his meditative mind/From sad employment…/But they may divert my lord as well. Ah, here they are. (Enter R&G, masked, riding horses,) Rosencrantz:(to Guild.)Ummm, uh… spots a coin; to horse) Whoa-whoa.(takes coin, starts flipping it)Hmmm…Heads… heads…heads…Bet? Heads I win? Again? Heads…78 in a row. A new record, I imagine. Guildenstern: Is that what you imagine? A new record” R: Well… G: Why can’t you think of anything original? Why do you always just repeat everything? (notices the QU and CL) My homage to the Queen. R: In hot obedience to the Royal ‘hest/We have arrived, prepared to do our best. QU: We welcome you to Court. Our Chamberlain/ Shall see that you are suitably deposed. And her is his daughter… (Exeunt QU/CL, lovingly, enter Ophelia) R: Ophelia! (both embrace her) Oph: Rosencrantz and Guildenstern! This meeting likes me much. R: The Queen has summoned us,/And I have come in half- hearted hope/That I may claim once more my baby-love! OPH: Alas, I am betrothed! R: betrothed? To whom? OPH: To Hamlet. G: And what’s he like? OPH: Sometimes he’s tall – sometimes he’s very short/ Now with black hair – now with a flaxen wig;/Sometimes with an English accent – then a French./Once an American, once a Jew…/But Danish never, take him how you will! G: Oh, he is surely mad! OPH: Well, there again /Opinion is divided. Some men hold/ That he’s the sanest, far, of all sane men - /Some that he’s really sane, but shamming mad/Some that he’s really mad but shamming sane /Some that he will be mad, some that he was/ Some that he couldn’t be. But on the whole /The favourite theory’s somewhat like this: Hamlet is idiotically sane/With lucid intervals of lunacy. G: I think I have it. A man talking sense to himself is no madder than a man talking nonsense not to himself. R: Or just as mad. G: Or just as mad. R: And he does both. G: So there you are. R: Stark raving sane…What are you playing at? G: Words. Words. They’re all we have to go on… Rosencrantz? R: What? G: Guildenstern? R: What/ G: Don’t you discriminate at ALL? The Player/Shakespeare: Why? G: Ah, why? R: Exactly! G: Exactly what? R: Exactly why? G: Exactly why what? R: What? G: Why? R: Why what exactly? G: WHY IS HE MAD? R: I DON’T KNOW! G: Is that you? R: I don’t know G: (in disgust)It’s you. Player/Shakespeare: We are tragedians, you see? We follow directions. There’s no choice involved. The bad end unhappily, the good, unluckily. That’s what tragedy means. R: We drift down on time, clutching at straws. But what good’s a brick to a drowning man? Be happy – if you’re not happy what’s so good about surviving? We’ll be all right. I suppose we just go on…We must divise some plan to stop this match! G: Stay! Many years ago, King Claudius/Was guilty of a five- act tragedy./ The play was damned, and none may mention it/ Under the pain of death. We might contrive/ To make him play this piece before the King,/And take the consequence. R: Impossible! For every copy was destroyed. OPH: But one, my father’s. In his capacity/As our Lord Chamberlain (all bow reverentially at the mention of L.CH.) he has one copy. This night, when all the Court is drowned in sleep/Will abstract the precious document.(exit OPH) G: The plan is well conceived…(holds up a feather and a wooden ball) Look at this. You would think this would fall faster than this.(drops them) R: And you would be absolutely right. (enter QU) QU: Have you as yet planned aught that may relieve/Our poor son’s despondency? R: Madam, we’ve lost no time. Already we are getting up some Court theatricals/ In which the Prince will play a leading part. QU: That’s well-bethought-it will divert his mind./But soft, he comes. R: How gloomily he stalks,/Starts-looks around-then, as if reassured,/Rumples his hair and rolls his glassy eyes! QU:(appalled)That means he’s going to soliloquise!/prevent this, gentlemen, by any means! R&G: We will, we will(they kneell) But how? QU: A mother’s blessing be upon you sirs.(exit) R&G(rising)Now Guildenstern, apply thee to this task. (enter Hamlet) Hamlet: To be - or not to be! R: Yes, that’s the question- whether he’s bravest who will cut his throat/rather than suffer all… H: Go away, go away…To die- to sleep… R: Half of what he said meant something else and the other half didn’t mean anything at all. Eternity’s a terrible thought. I mean, where’s it all going to end? Did you ever think of yourself as actually dead, lying in a box with a lid on it? G: No, no, no…you’ve got it all wrong, you can’t act death. The fact of it is nothing to do with seeing it happen- it’s not gasps and blood and falling about – that isn’t what makes it death. It’s just a man failing to reappear, that’s all – now you see him, now you don’t…an exit, unobtrusive and unannounced, a disappearance, gathering weight as it goes on, until finally, it is heavy with DEATH. Death is “not”…take my meaning. Death is the ultimate negative. Not being. R: It’s silly to be depressed by it. I mean, one thinks of it like being alive in a box. One keeps forgetting to take into account the fact the fact that one is dead, which should make all the difference, shouldn’t it? I mean you’d never know you’re in a box. It would be just like you were asleep in a box. Not that I’d like to sleep in a box, mind you. Not without any air. You’d wake up dead for a start, and then, where would you be? In a box. That’s the bit I don’t like, frankly. That’s why I don’t think of it. Because you’d be helpless, wouldn’t you? Stuffed in a box like that. I mean, you’d be in there forever, even taking into account the fact that you’re dead. It isn’t a pleasant thought. Especially if you’re dead, really. Ask yourself, if I asked you straight off, “I’m going to stuff you in this box. Now, would you rather be alive or dead?” naturally you’d prefer to be alive. Life in a box is better than no life at all, expect. You’d have the chance, at least. You could lie there thinking, “Well, at least I’m not dead. In a minute somebody is going to bang on the lid, and tell me to come out.”(bangs on the lid). Hey, you! What’s your name? come out there!” G: (long pause) I think I’m going to kill you. The only question is/ between the choice of deaths, which deaths to choose. (offers a revolver) Hamlet: Do take those dreadful things away. They make/ My blood run cold. Go away, go away! (R&G turn aside. Hamlet continues) H: To sleep, perchance to … R: Dream/ That’s very true. I never dream myself./But Guildenstern dreams all night long out loud. G: With blushes, sir, I do confess it true! (Hamlet retires, buried in soliloquy, OPH, white with terror, rushes in with manuscript) OPH: Rosencrantz! R: Well? OPH: I’ve found the manuscript,/But never put me to such work again! It was most horrible R: Give me then the play,/And I’ll submit it to the Prince. Hamlet: Why, what’s that? G: We have been looking through some dozen plays/ To find one suited to our company. This is, my lord, a five-act tragedy. H: That’s excellent/ That’s very good, indeed…We’ll play this piece (withdraws, reading the manuscript; enter procession King, Queen, Polonius, Ophelia, Courtiers, R&G, waiting for the play to start) R: The plot’s impossible,/And all the dialogue bombastic stuff….a piece of pompous folly intended to excite no loftier emotion than laughter and surprise. (Hamlet and players come forward) CL: Good sirs, we welcome you to Elsinore./Prepare you now…to taste/ This intellectual treat in store for us. H: We’re ready, sir. (turning to players) But before we begin, I would speak a word to you who are to play this piece. I have chosen this play in the face of sturdy opposition from well-esteemed friends, who were for playing a piece with less bombastic fury and more frolic. For which reason I pray you, let there be no huge red noses, nor extravagant monstrous wigs, nor coarse men garbed as women, in this comi-tragedy; for such things are as much to say, “I am a comic fellow-I pray you laugh at me and hold what I say to be cleverly ridiculous.” Such labeling of humour is an impertinence to your audience, for it seemth to imply that they are unable to recognize a joke unless it be pointed out to them. I pray you avoid it. CL” Come, let us take our places. Gather round/that all may see this fooling. Here’s a chair…(All rush to take a seat on that only chair, bustle, fall etc) in which I shall find room to roll about/ When laughter takes possession of my soul./Now we are ready. ( to R) is this play well known? R: It is not, my lord.
THE HAMLETMACHINE
Hamlet: I can’t bear death, I’m a philosopher.
CL: That’s true, but how shall we dispose of him?. OPHELIA (in wheelchair, wrapped in white packaging, suddenly)A thought! There is a certain isle beyond the sea/ Where dwell a cultured race – compared with whom/We are but poor barbarians;/It is known as Engle-land. Oh, send him there! If but the half of what I’ve heard be true/They will enshrine him on their great good hearts,/And men will rise or sink in good esteem/According as they worship him, or slight him! CL: We’re dull dogs in Denmark. It may be/That we misjudged him. If such a race there be ( There may be, I’m not a well-read man)/They’re welcome to his philosophic brain/So, Hamlet, get thee gone – and don’t come back again! ( Hamlet, who is delighted at the suggestion, crosses to Queen, kisses her; he then embraces Ophelia, goes to the front of the stage and exclaims) To Engle-land. R: Shouldn’t we do something…constructive? G: What do you have in mind? A short, blunt human pyramid? R: I can’t think of anything. I’m only good in support.(R begins to cry, G puts an arm round him). G: It’s all right, I’ll see we’re all right. R: (sobbing) But we’ve got nothing! G: We’ve got a letter. R: So, we’ve got a letter which explains everything. G: You’ve got it! R: I thought you had it. G: I do have it. R: You have it? G: You’ve got it! R: I don’t get it! G: You haven’t got it? R: I’ve just said that! G: I’ve got it! R: Oh, I got it! G: Shut up! R: Right. G: What shambles! We’re just not getting anywhere. R: Not even England. I don’t believe in it anyway. G: What? R: England. G: Just a conspiracy of cartographers, then? Player/Shakespeare: Generally speaking things have gone about as far as they can possibly go…Events must play themselves out to aesthetic, moral and logical conclusion. Life is a gamble, at terrible odds-if it was a bet, you wouldn’t take it. R&G (exit tossing coins) Heads…heads……. English guards snatch R&G. R: Do you think DEATH could possibly be a boat? G: If this is our destiny, then that was his, and if there are no explanations for us, let there be none for him(stabs the player/Shakespeare) Player/Shakespeare: Every exit is an entrance somewhere else. Audiences know what they expect and that is all they are prepared to believe in. I congratulate you on the un- ambiguity of your situation. We’re actors – we’re the opposite of people!