Tom Stoppard’s play Rosencrantz and Guildenstern Are Dead, arguably his best-known play, is as complex in dramatic structures as it is simple in language form. The article pinpoints and analyzes the postmodern literary and dramatic techniques employed by the author, as well as the postmodern features of the play, especially the absurd and the senseless, based on Albert Camus and Jean-Francois Lyotard’s theories.
