Rosencrantz and Guildenstern Are Dead. Tom Stoppard
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Rosencrantz & Guildenstern
Are Dead
Also by Tom Stoppard
Plays
The Hard Problem
Enter a Free Man
The Real Inspector Hound
After Magritte
Jumpers
Travesties
Dirty Linen and New-Found-Land
Every Good Boy Deserves Favour
Night and Day
Dogg’s Hamlet and Cahoot’s Macbeth
Undiscovered Country
(adapted from Arthur Schnitzler’s Das weite Land)
On the Razzle
(adapted from Johann Nestroy’s Einen Jux will er sich machen)
The Real Thing
Rough Crossing
(adapted from Ferenc Molnár’s Play at the Castle)
Dalliance
(adapted from Arthur Schnitzler’s Liebelei)
Hapgood
Arcadia
Indian Ink
(an adaptation of In the Native State)
The Invention of Love
Voyage: The Coast of Utopia Part I
Shipwreck: The Coast of Utopia Part II
Salvage: The Coast of Utopia Part III
Rock ‘n’ Roll
The Coast of Utopia: A Trilogy
Television Scripts
A Separate Peace
Teeth
Another Moon Called Earth
Neutral Ground
Professional Foul
Squaring the Circle
Parade’s End
Fiction
Lord Malquist & Mr. Moon
TOM STOPPARD
Rosencrantz & Guildenstern
Are Dead
50th Anniversary Edition
With a New Preface by the Author
Consulting editor: Henry Popkin
Grove Press
New York
Copyright © 1967 by Tom Stoppard
Preface © 2017 by Tom Stoppard
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Printed in the United States of America
First Grove Press hardcover edition published: January 1967
This Grove Atlantic edition published: April 2017
ISBN 978-0-8021-2621-4
eISBN 978-1-5558-4894-1
FIFTIETH ANNIVERSARY EDITION
Grove Press
an imprint of Grove Atlantic
154 West 14th Street
New York, NY 10011
Distributed by Publishers Group West
PREFACE
When Rosencrantz and Guildenstern Are Dead opened in April 1967— performed by the National Theatre at the Old Vic—a play about Hamlet’s ‘excellent good friends’ had been on my mind for three years or so. I had spent part of the summer of 1964 in Berlin at a ‘literary colloquium’ for promising young playwrights, and my graduation piece was a sketch about Rosencrantz and Guildenstern finding themselves in England. I developed this backwards into a full-length play in which our heroes are discovered on their way to Elsinore, and it was accepted by the Royal Shakespeare Company. But the planned production fell by the wayside, and the RSC passed the script to the incumbent director of the Oxford Playhouse, Frank Hauser, who in turn passed it on to an undergraduate company, the Oxford Theatre Group. The OTG performed the play on the Edinburgh Festival fringe in August 1966. A review by Ronald Bryden in the Observer was such that when I returned to London it was to find a telegram from Kenneth Tynan, the literary manager of the National Theatre, asking to read the play.