In Rosencrantz and Guildenstern are Dead, there are powerful yet conflicting forces that define Ros’s and Guil’s actions as well as their fictional world these forces keep limiting the characters while leaving them without any sense of structure or purpose. He applies deconstruction as a dialectical method in that he assembles contrasting ideas to reveal voids within Shakespeare’s script and language. At the heart of Stoppard’s supplement is the inclusion of contradictory elements. His play famously elevates Ros and Guil from the position of minor characters to the status of main protagonists only to show them vainly striving to make sense of fragmentary and metatheatrical scenes from Hamlet.
In Rosencrantz and Guildenstern are Dead, Tom Stoppard skilfully exploits the paradoxical nature of supplement.
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