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All 'Metatheatre' is Not Created Equal: The Knight of the Burning Pestle, A Midsummer Night's Dream, and the Navigation of the Spectrum of Dramatic Representation
[...]it is very clearly demonstrated in The Oxford Companion to Theatre and Performance's definition of "metatheatre," which effectively states that "metadrama" can be used synonymously with "metatheatre" when self-reflexivity has been "embedded in the script's structure by the playwright" (388). Meta-locus and meta-platea effectively stack a new world of the play within the play's existing structure. [...]these dramatic layers move from the world of the play (the locus) to the space between the play and the world of the play's staging of a cultural performance (the meta-platea) to the inset performance itself (the meta-locus). [...]the only ending that the Citizen can devise for the rambling and episodic comic escapades of the Knight of the Burning Pestle is for that grocer errant to die for no apparent reason, which both breaches the romance genre and clearly denotes the Citizen's foolishness. [...]the play's structure culminates in the figurative death of the chivalric romance locus and the apparent completion of the diverted but not derailed "London Merchant."