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Tom Stoppard's works are read as a series of transformational exchanges between the other texts quoted in his text and between his own texts early and later in his career. His later adapted film(1990) from his early play of Rosencrantz and Guildenstern Are Dead(1967) is a representative work which draws us into the process of transformation, especially as a transformational exchange between the two media of theatre and cinema. The concepts of Deleuze, "rhizome," "becoming," and "irreducible multiplicity" can be effectively used in understanding the characteristics of Stoppard's world in transformation.Stoppard's film of Rosencrantz and Guildenstern Are Dead can be also understood in terms of Deleuze's analysis of modern cinema. Deleuze defines modern cinema as a cinema of the seer and no longer of the agent and a cinema of the time-image (the crystal-image) beyond the movement-image. Stoppard's film is a cinema of the seer and his cinematographic image is a crystal-image in "a purely optical and sound situation" established in "any-space-whatever." In the film the two characters should learn how to see in order to liberate themselves from their already written fate in the text, i.e. the crystal. Thus, they have to undergo the process of "becoming-seers" in order to find a crack, a point of flight, a flaw, which can grow and transform the crystal itself by becoming its seed within itself. Stoppard's transliteration between theatre and cinema can generate a transformational dynamic with which he can make as see the relationship between the two media and the problems of the media and he can liberate his theatre from being trapped within the crystal of the past time. Although Rosencrantz and Guildenstein fail in finding a line of flight in Elsinore Castle, the area of indiscernibility of theatre and cinema, we as spectators can see a possibility that they may take a flight from the closed circuit by becoming-seers.