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challenge the audience¡¦s fixed perception of things and to reexamine the part of exaggeration and counterfeit in the historical documents.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.
| Identifer | oai:union.ndltd.org:NSYSU/oai:NSYSU:etd-0627103-114348 |
| Date | 27 June 2003 |
| Creators | Lu, Shu-nu |
| Contributors | I-Chun Wang, Jane Chiang, Francis K. H. So |
| Publisher | NSYSU |
| Source Sets | NSYSU Electronic Thesis and Dissertation Archive |
| Language | English |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0627103-114348 |
| Rights | restricted, Copyright information available at source archive |
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