Let us bow our heads, now, and have a moment to honor the dearly departed — not the title characters of “Rosencrantz and Guildenstern are Dead,” the Tom Stoppard play running this weekend as part of William and Mary Theatre’s Second Season — rather, let something a little more simple be remembered, something less tangible, yet altogether essential to the understanding of a play which carefully explores difficult subjects in clever and insightful ways.

I am referring to silence itself; that key to bleakness and boredom, that way of making an audience question whether the show is supposed to still be going indeed, if it ever began. The characters in Megan Behm’s ’11 production, although deft and able in their roles as ciphers for Stoppard’s wit and wisdom, don’t clam up as much as they should. Yes, it’s very strange to want more nothing in something, much less a play. But for a work like this, there is often a shortage of nothing, even after it seems the pauses couldn’t be any more pregnant.

Set in the same span of time as Shakespeare’s “Hamlet,” “Rosencrantz and Guildenstern are Dead” follows the two messengers and presumed confidantes to the Danish prince. “Follows” may be the very antithesis of what Ros and Guil do, however, as vast chunks of the play are set in the spaces between their action in the original play. For those not brushed up on their “Hamlet,” these guys aren’t on much; they pass the time playing games of chance and discussing philosophical ideas. Guildenstern appears at first to be the more rational, Rosencrantz the more lackadaisical. The games, however, don’t involve much chance, and the implications of their debates on present circumstances are soundly ignored. This is, above all, a play about humanity’s transitory existence; seeing the forest for the trees would mean these characters understand their plight, and that isn’t as interesting to watch.

The dead men are aptly cast and performed: C.J. Bergin ’11(Rosencrantz) is a lovable buffoon who lapses into moments of epiphany as his character and Guildenstern’s become increasingly interchangeable. Macs Smith ’11 as Bergin’s counterpart maintains a cold, logical distance from the proceedings, until he is pushed to the brink in a spectacular fashion. His transformation is as powerful as it is tragic. Although they hold the play’s significance on their shoulders, these actors rarely fail to amuse, as can be seen in the elastic face and wide eyes of Bergin and the frantic attempts by Smith to hold everything together.

Joel White ’13, as the leader of a group of amoral theatrics, is less boisterous than a more traditional reading of his character would provide. His Player is all smirks and devilry, treating death as little more than an elaborate trick of the stage; through him the metatheatre of “Rosencrantz and Guildenstern” takes its purest form. The Tragedians, underlings and performers to White’s slick personage, also double as the “Hamlet” characters, a decision from Behm that further calls into question the nature of reality for this production: The critical viewer from time to time remembers that everyone in a play is an actor. Here, that notion is externalized, and everyone is, quite literally, playing a part. So, what is real? Are these real men, whose deaths should move us? Or are they pawns in our occasional exercises into escapism? Only Nathan Sivak ’13, as an equally deranged and fiery Hamlet, keeps his place firmly in the goings-on of Shakespeare’s play. Perhaps the Dane is the one sane man in this world of ambiguity, or perhaps he’s the only one not in on the joke.

The technical elements are simple: Minimalism is the word of the day, and the largely bare and black stage provides good canvas for the ethical and philosophical tennis matches that routinely take place. Costumes are just as bare-bones, with only Hamlet and the Player robed in anything remotely extravagant, a selection that owes just as much to their separation from the rest of the characters as it does the characters themselves. Lighting is subtle but effective — thankfully, one is spared the typical harsh red glow associated with onstage murder.

Stoppard’s themes are explored effectively enough in Behm’s production; to be honest, there really isn’t anything significant missing. Yet, as important as Stoppard’s words are for the success of his play, there is value to be had in the tantalizing moments of insecurity, the paralyzing occasions of emptiness. Rosencrantz and Guildenstern are stuck in a hopeless existential prison, and that is their tragedy. Stoppard wants to share this feeling, to liberate his audience.

The majority of the people you meet at college will likely be met at parties. Additionally, few things reveal more about your true nature than the music you listen to. So, what does the music you play at your parties say about you? A lot of things, my dear sweet Griffins — more than you realize. As an aural anthropologist, let me elucidate what others glean from your choice of party music.

The predominant genre of music at any party you’ve ever been to is what I affectionately call “frat rap.” It is mindless, pulsing — and usually about sex. Now, I have no problem with pulsing mindless sex. I have the opposite of a problem with that. But when you turn down the music, yell to the room, “Oh man, you guys ready for this?” and then turn on Jason Derulo, we have a problem. You have just told every one in the room, “Don’t bother asking me my major, because it’s partying.” You have effectively excluded yourself from any future intelligent discussion, and from then on, beer pong will be your only recreational sport. Unless you’re a hipster playing it ironically — and God help you if you are — that’s probably just fine with you. So, pound back another Big Flats lager from Walgreens, crank up the B.O.B, and wear that high school lax pinny with pride. You, sir, are in your element.

Another common choice at parties is “bro music.” While etymologically similar to “frat rap,” “bro music” has no intention of sexually attracting a partner. Instead, it turns the mood to weepy crooning. Heavy on the acoustic guitar and lyrically concerned with lost love, dogs and dollars, “bro music” often includes Sublime, Hootie and the Blowfish, and; of course, Dispatch. Don’t get me wrong: There are times when all you want to do is stand arm in arm with another bro (and “bro” is a unisex term; girls can be bros) and sing obnoxiously about someone else’s sorrow like it’s your own. But if you do this at a party and your name is not Biz Markie, you’re kind of a douche. I’ve seen “bro music” effectively used to clear out parties at the end of the night, but nothing says “I’ve never known heartbreak, but I’ve heard it sucks” like belting out “Wagon Wheel” at 2 a.m. Did you really make it down the coast in seventeen hours? Really? Yeah, I didn’t think so.

Equally insufferable is the patron who plays “socially conscious hip-hop.” This is one of the most fruitful of all music genres, but it has no place at parties. There’s a reason “Where’s the Love” by the Black Eyed Peas lost its spot on the Top 100 chart. You can kill a festive mood very quickly with lyrics about poverty, social injustice and discrimination. No one is impressed by how deep you are. No one is listening to the words when the bass is being pumped out at deafening decibels. Furthermore, no one is impressed when you mouth the words to yourself in the corner, leaning on your closet, drinking your Natty. In this same category, I lump hipster. I don’t care if no one has heard the band you’re playing; maybe it’s because that band actually sucks. “They’re a Dutch band whose lead singer totally became a Dominican monk because he was so disillusioned with capitalist society.” That’s a cool story and some indie critic might be fascinated. I could not, in any conceivable reality, care less.

A final group is those who play humorous spoof songs. “I’m on a Boat” is the primary offender here. Presenting something clever that someone else created does not make you funny. It makes the Lonely Island funny, but it makes you juvenile. I also include the “Kappa Rap” in this category (or anything else popular on YouTube). I have nothing but love for the charming women of Kappa Kappa Gamma, but I swear if I hear that song again I’m going to commit a war crime.

I do not wish to discourage you from delving into any of these delightful styles — just make sure you’re aware of the impression they give to others. Your taste may attract judgemental ears. Before you condemn the obnoxious guy next door for blasting Justin Bieber at his pregame, question whether or not your all-Ke$ha playlist is any better. Answer: It’s not.

__Jason Rogers is a Confusion Corner columnist who makes sure to think twice before playing “Wagon Wheel”.__

Superheroes, vampires and Glenn Close ’74 will convene at the Kimball Theater this weekend for the College of William and Mary’s annual Global Film Festival.

According to its organizers, this year’s festival — in its fourth — will expose viewers to familiar cultural phenomena through an unfamiliar lens with a “super/natural” theme.

The broad theme encompasses three of the most popular subjects typically seen in modern Hollywood: superheroes, green thinking and the paranormal As usual, everything — including food, drinks and alcohol — will be free.

“The festival is going to give us an opportunity to broaden the horizons that Hollywood usually boxes Americans into,” Alanna Wildermuth ’12, volunteer coordinator, said.

Opening night, last night, was devoted to Superheroics. The most anticipated premiere of the evening was the Indian film “The Robot,” which, according to Robyn Markarian P.h.D ’16, assistant director not the film festival, was the “Avatar” of India. It had the largest budget of any Indian movie and broke all Indian box office records. Special guest and executive producer of “The Robot” Jack Rajasekar presented the film and received an award from the festival.

Natural filmmaking will be featured Friday evening, with the French film “Home,” directed by Yann Arthus-Bertrand. Narrated by Close, the film, according to Markarian, is renowned for its breathtaking cinematography.

“Green thinking is huge in modern day culture,” Markarian said. “You might be getting sick of the green movement, but you really shouldn’t be.”

Saturday will be dedicated to the surreal. Landmark Japanese horror film “House” will make its Virginia premiere, presented by director Nobuhiko Obayashi and screenwriter Chigumi Obayashi.

“Let the Right One In,” a vampire film directed by Tomas Alfredson that has achieved critical acclaim, will highlight the supernatural Saturday evening. The film possesses the classic darkness usually portrayed in vampire movies. At midnight, the event will move into Colonial Williamsburg for a ghost tour.

“We want to show people that there are alternatives [to popular culture],” Markarian said. “They don’t have to see Twilight if they want to watch a vampire film.”

The William and Mary Wind Symphony Sunday will close the weekend with a performance Sunday. Their annual Pop’s concert will follow the super/natural theme. A performance by the William and Mary Wind Symphony will end the evening. Their annual Pop;s concert will also follow the Supernatural theme.

“This is the first time we’re collaborating with the Wind Symphony,” Thomas Schutt ’11, festival intern, said. “It should be pretty exciting because I know it has been impressive in the past, and that they do film music justice.”

Organizers said they hope the theme will resonate with viewers and help them realize that there are quality films beyond what Hollywood has to offer. The general audience is not limited to seeing large-scale movies like “The Green Hornet,” “An Inconvenient Truth,” or “Paranormal Activity” if they want to see a superhero, environmental, or horror film.

“We’re not here to challenge Hollywood,” Markarian said. “We just want to show that there are films beyond it.”

Many of those directly involved in the festival are film studies students who took the class offered by Festival Director visiting assistant professor Timothy Barnard during the fall semester.

“The class is essentially geared toward getting people involved in working on the festival,” Schutt said. “A lot of the students tend to stay with the festival and become interns.”

According to Markarian, the organization is an all-year effort, especially for Barnard, and the work yields impressive results. She has been working on the festival since August 2010.

“We’ve had the opportunity to do a lot of really great things and invite some special guests,” she said. “We’re really excited about it.”

Some of those guests include Rajasekar and both Nobuhiko and Chigumi Obayashi, who will also be presenting their respective films, “The Robot” and “House.” Other guests include environmental filmmaker Judith Helfand and Italian filmmaker Ivana Corsale.

The festival will host three parties, one for VIP guests and two for the public (for film studies students, the gatherings will allow for networking in particular.) Some, such as Wildermuth, find that the guests, and their films, directly coincide with their undergraduate studies.

“I wrote a paper on [Helfand] last year, so I’m really excited for her to come,” she said.

While the obvious opportunities for students seem to lie with those involved in film studies, Markarian makes it clear that this is not necessarily the case:

“There aren’t a lot of theaters to choose from in Williamsburg so it’s really easy to go to the Movie Tavern or New Town to see the same Hollywood movies over and over — different actor, same plot. We want people to realize that there are some great alternatives out there.”

According to Schutt, the festival should appeal to many student interests.

“Someone who is culturally minded, like an international relations major, would probably be interested in seeing all the culture,” he said. “A scary movie lover will find something they like, and then anyone interested in the environment — plus, who doesn’t love a good superhero movie? And then, of course, everything is free.”

There is a large variety of cultures represented at the festival. The films shown come from India, Spain, the United Kingdom, France, Italy, Belgium, Japan, Sweden, Brazil and Iran.

For someone like Markarian, the cultural aspect and the festival is especially important. Having received her undergraduate degree from New York University, she was worried and concerned she wouldn’t find any culture in Williamsburg.

“[The festival] shows me that people are willing to have culture everywhere,” she said. “This is such a great opportunity to find things that you wouldn’t find anywhere else. And it’s not an exclusive event, we want everyone to be able to come and take something away from it.”

Organizers hope the festival, like in past years, will continue to encourage intellectual stimulation in the community.

“The movie club of Williamsburg was founded after people came to the festival and saw the things we had to offer,” Markarian said. “We showed them the varieties of movies that are available to everyone – if you’re willing to look of course.”