We’ve already had a accident to transcribe about the purport of Sontag/Abel’s subject of “metatheater” excepting the restitution of Cleopatra and Prospero to our register of priggishly gesticulatory characters reachs the theme. Briefly consolidate up how metatheater works in either Hamlet or Richard II and then reach your dispute to Antony and Cleopatra and The Tempest. Feel unreserved to assign to our other tempests(cesaire, Wideman, leininger) as polite if it helps to gradation your dispute. Try to do over than gather up similarities among characters or plays; notice as polite to differences in the ways the characters are priggish, the reasons fo which they measure themselves, etc
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