Furthermore, throughout the comparative analysis, a parallel is drawn between the respective modern rewritings and the original Shakespearean plays, establishing the similarities and differences concerning the alterations the authors made to the original, touching upon the reason they utilized these dramas, and the way how they subverted them, alongside the function of the deviation from the original.
Through the prism of these aspects, the main purpose of the paper is to compare the plays in question, reflecting upon the presence or absence of the aforementioned features, their way of application (treatment), and characteristics in each rewritings. The analysis is conducted by the observation of the following crucial facets of the absurdist drama taken into account: 1) the structure of the play (2) the setting and time frame (3) the treatment of space (4) characterization and relationships between the characters (5) the status of language (6) verbal humour − black humour (7) estrangement effect (8) images, motifs, symbols and 9) major themes. The former is being rewritten in Tom Stoppard’s Rosencrantz and Guildenstern are Dead, while the latter is a recast of Macbeth in Eugène Ionesco’s Macbett. CONTEMPORARY SHAKESPEAREAN REWRITINGS IN THE THEATRE OF THE ABSURD: STOPPARD AND IONESCO Abstract This paper aims to analyze the elements of the Theatre of the Absurd in two contemporary absurdist rewritings of Shakespeare’s classics, Hamlet and Macbeth, respectively.
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