Proposals for the three re-creative pieces

Rosencrantz and Guildenstern
Act3, Scene 1, Lines 30 [onwards]
Rosencrantz and Guildenstern have just left after reporting back to the King on Hamlet's behaviour. Here, I propose to include a new scene where Rosencrantz and Guildenstern have a quite conversation between the two of them, where they discuss what they have been told to do, (to spy on Hamlet). Rosencrantz is arguing that what they are doing is ok, that Hamlet was never a close friend in the first place, and the fact that they get some sort of reward in the end if he follows the Kings orders. However Guildenstern feels the opposite. He is a weaker character and therefore does what Rosencrantz tells him to, but he argues that they should re-consider spying on Hamlet before something bad happens, (foreshadowing).
Commentary
By inserting this piece, it will give to fairly insignificant characters a chance to express what they actually feel, giving them an opinion and motives etc. It should give an insight to the audience about their personalities, and it should distinguish between the two, which is good and which is evil. It should also evoke the question of what is moral, and a dilemma between the two characters, which also will help to define what types of roles they will take in the play.

Polonius
Act 3, Scene 4, lines 1-13
Polonius is hiding behind the arras in Queen Getrude's closet, listening in on their conversation. I propose to insert a soliloquy by Polonius. The audience should here his speech after Hamlet has said "No, by the rood, not so", at this point, Polonius will interject with his soliloquy, saying how he could have been wrong about his theory that Hamlet was insane, and perhaps that he was just grief stricken. Then Polonius 'fantasises' that what if the King was behind the death of the late King? What if Claudius had a plan all along to become the King? This is when Polonius 'figures out' what's been going on. While Hamlet and Gertrude continue talking, audience will see Polonius talking to himself, not paying any attention to the conversation between Gertrude and Hamlet. That is when he hears "Help, ho!" and is brought out of his thoughts, and killed.
Commentary
Polonius is portrayed as a doddery old man, who speaks nonsense. However in this scene, I would like the audience to see his 'true colours', a moment of intelligence, showing that perhaps in his youth, he was once a very intellectual man. This could be backed up by the fact that when Polonius talks, he is often very philosophical, perhaps showing he was a very clever man. This also makes his death more of a tragic loss. In this re-creative piece, I also wanted the idea of fate to become more of a theme in this tragedy, the idea that everything happens for a reason and is pre-determined, because when Polonius finally understands what is going on, he is slain before being able to do anything about it, suggesting that the death and fall of the monarchy must happen.

Ophelia
Act 2, Scene 1, lines 105-onwards.
Ophelia has just been told to stay away from Hamlet by her father, Polonius, and she obeys. When Polonius leaves, she hangs back for a soliloquy in which she tells the audience how she feels repressed as a woman and as an individual, how she hates having to obey higher-powered people, how she feels about Hamlet and her worries and fears of never marrying and becoming a single lady (spinster). She toys with the idea of disobeying Polonius, and telling Hamlet how she feels about him, then she contradicts herself, saying how un-lady-like that would be. The theme of her soliloquy would be her disobeying of some kind, then talking herself out of it.
Commentary
In this soliloquy, there would be tones on feminism and gender oppression and inequality. It would give Ophelia a proper speech, and it would show a character insight about how she feels. However, the main thing is that I wanted Ophelia to sound like Hamlet, as in the soliloquy she constantly talks herself in and out of things, which mirrors Hamlet's personality for instance, when he talks himself into taking revenge on Claudius, then puts on a play just to make sure he did kill his father. Or when he talks about killing himself, then talking himself out of it because he'd go to hell.