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http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/3957 http://eprints.org/relation/ispreviewThumbnailVersionOf http://etheses.bham.ac.uk/id/document/3957 http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/3957 archive 4031 disk0/00/00/17/79 2011-07-14 16:12:31 2019-01-23 09:54:51 2011-07-19 16:41:26 thesis show 0 Orford Peter Robert Mason Pamela Jowett John University of Birmingham unpub PR PN2000 30sch_huma ‘Rewriting History’ is a reappraisal of Shakespeare’s history cycle, exploring its origins, its popularity and its effects before challenging its dominance on critical and theatrical perceptions of the history plays. A critical history of the cycle shows how external factors such as patriotism, bardolatory, character-focused criticism and the editorial decision of the First Folio are responsible for the cycle, more so than any inherent aspects of the plays. The performance history of the cycle charts the initial innovations made in the twentieth century which have affected our perception of characters and key scenes in the texts. I then argue how the cycle has become increasingly restrictive, lacking innovation and consequently undervaluing the potential of the histories. Having accounted for the history of the cycle to date, the second part of my thesis looks at the consequent effects upon each history play, and details how each play can be performed and analysed individually. I close my thesis with the suggestion that a compromise between individual and serial perceptions is warranted, where both ideas are acknowledged equally for their effects and defects. By broadening our ideas about these plays we can appreciate the dramatic potential locked within them. 2006 2006 graduation eng author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 335 University of Birmingham School of English, Drama and American & Canadian Studies, The Shakespeare Institute d_ph na 2006 graduation