Metadrama In Shakespeare

‘Shakespeare’s plays reflect not life but art.’ Make use of this remark in writing an essay on Shakespeare’s use of Metadrama.
Shakespeare constantly plays with metadrama and the perception of his plays as theatre and not life with the complications inherent that in life we all play roles and perceive life in different ways. The play has recognition of its existence as theatre, which has relevance to a contemporary world that is increasingly aware of precisely how its values and practices are constructed and legitimised through perceptions of reality.
Critic Mark Currie posits that metadrama allows its readers a better understanding of the fundamental structures ...

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Brutus, Cassius and others as actors, self consciously fashioning Roman politics as competing theatrical performances the play enacts the representation of itself to ideology, and of ideology to subjectivity. Moreover if the subjects within the fiction of Julius Caesar are radically unstable by virtue of their representations then so is the theatre whose function is to stage this instability. This means that Julius Caesar fits within this essay’s definitions of Shakespeare’s work reflecting art not life, but also if we are to think of life in terms of people playing roles within their lives where ‘All the world’s a stage’ , and perceiving reality in a myriad different ways then theatre reflects life reflecting art - a complication that students of Shakespeare would expect the Bard to enjoy. Feste in Twelfth Night exemplifies this notion,
“Nothing that is so is so”
(Act IV scene i, line 8)
Shakespeare uses Feste to foreground the ...

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audience and there is evidence to suggest that he wrote specifically for these people who no doubt kept returning because they enjoyed the way he wrote and the experience of the play.
One convention which foregrounds the theatrical is the ‘aside’ where for example Hamlet speaks very loudly so that the audience who may be ten meters away can hear him clearly and yet another person on the stage only three meters away cannot hear a word. The audience accepts this as a known convention. The effect of this is that the audience continues to interpret and actively participate in the metadramatic constructs, and co-operating with the artificiality of the play thereby increasing ...

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Metadrama In Shakespeare. (2004, September 15). Retrieved December 3, 2020, from
"Metadrama In Shakespeare.", 15 Sep. 2004. Web. 3 Dec. 2020. <>
"Metadrama In Shakespeare." September 15, 2004. Accessed December 3, 2020.
"Metadrama In Shakespeare." September 15, 2004. Accessed December 3, 2020.
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Added: 9/15/2004 02:45:36 PM
Category: English
Type: Premium Paper
Words: 1807
Pages: 7

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