We’ve already had a chance to write about the meaning of Sontag/Abel’s idea of “metatheater” but the addition of Cleopatra and Prospero to our list of self-consciously theatrical characters extends the topic. Briefly sum up how metatheater works in either Hamlet or Richard II and then extend your argument to Antony and Cleopatra and The Tempest. Feel free to refer to our other tempests(cesaire, Wideman, leininger) as well if it helps to advance your argument. Try to do more than add up similarities between characters or plays; attend as well to differences in the ways the characters are self-conscious, the reasons fo which they stage themselves, etc
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