Rosencrantz and Guildenstern Are Dead

An important idea in absurdist theatre is that of the tragicomedy. The tragicomedy, of which Waiting for Godot is one, is a concept inspired by the work of William Shakespeare according to Martin Esslin, author of Absurd Drama. The most clear representation of this relationship is Stoppard's Rosencrantz and Guildenstern Are Dead. 

This play, among many other potential themes, deals with the question of existence and whether it continues after death. To do this, like many absurdist dramas, the play contains a limited setting that functions fluidly between the living world and the afterlife without ever defining itself as one or the other. The characters, like in Godot and The Sandbox exist in sort of non-setting that isolates them, and in putting their humanity under a microscope, generalizes and distorts their defining characteristics in pursuit of the greater questions of the play.