Rosencrantz and Guildenstern Are Dead in Film

Further perplexing is the matter of Absurdist Theatre interpreted into film. The filmmaker can now make decisions regarding the visual storytelling of these minimalist plots, sometimes simply mimicking the play's theatrical staging, but at other times using more traditional cinematic techniques including elaborate sets and costumes, moving camera angles and editing. 

I plan to, in my own creative work for this class, develop a film adaptation of Absurdist Theatre myself, so the operative question here is does one adhere to the text as it is literally written or does one follow what is interpreted to be the spirit of the genre and continue the challenge of the presentation medium (in this case, stage performance) onto the more contemporary medium of cinema? Does one use the film medium in ways that refute traditional cinematic storytelling techniques like Beckett and Stoppard used the stage to challenge the stage, or is this a liberty one has no right to take?

This film version of Rosencrantz and Guildenstern Are Dead (1991) written and directed by Tom Stoppard himself seems to answer a few of these questions.