Thesis (Ph. D.)--Ohio State University, 1982. / Includes vita. Includes bibliographical references (leaves 198-214). Available online via OhioLINK's ETD Center.

Abstract This thesis aims to analyze metadramatic elements in Shakespearean history plays mainly from the interplay between the actor and the audience. I do not focus on a particular history play but on two characters: Richard III and Prince Hal. Different from most critics of metadrama, I do not search for ruptures in a dramatic text or interpret those ruptures from the deconstructionist¡¦s perspective. Nor do I view metadrama as an established theory when I notice that most critics of metadrama fail to offer a succinct definition to the term. To be specific, metadrama is a kind of dramatic practice on the Renaissance stage. Furthermore, matadrama is constituted of types of metadramatic modes, and during my research, I gradually realize that self-reference is a peculiar phenomenon in history plays. The function of self-reference is to challenge the audience¡¦s fixed perception of things and to reexamine the part of exaggeration and counterfeit in the historical documents. Shakespeare uses self-reference to develop not only the personality of dramatic personae but also his theatrical perspective of historical characters.¡@By analyzing self-reference, I wish to clarify Shakespeare¡¦s attitude toward historical characters. Also, I shall argue that Shakespeare modifies the historical portrayals of Richard III and Prince Hal and authenticates the theatrical perspective of them.