Abstract:
This essay examines Shakespeare’s history plays as an exploration of the place of theatricality in politics. Over the course of two tetralogies, Shakespeare enters into the Early Modern theatrical discourse by presenting his audience with a series of monarchs who rise and fall according to their histrionic skill and interpretation of the role of King. Prince Hal easily emerges as the playwright’s champion, destined for success by the strength of his theatrical drive and his innate understanding that to succeed within the realm of political theatre, one must become a Player.
