互文性研究起始于上世纪六十年代的结构主义。经过巴赫金(Mikhail Bakhtin), 茱莉亚•克里斯蒂娃（Julia Kristeva）,罗兰•巴尔特 （Roland Barthes）, 乔纳森•卡勒（Jonathan Culler）等众多学者的丰富和发展，逐渐成为当今文学分析中的一个重要分支。互文性理论认为，作者在文本创作中的重要性渐渐减弱，文本创作只不过是与其他文本的一种“相互游戏”。任何文本都是对其他文本的一种解构、重组、混杂、再创造。不同文本之间的边界渐渐消失，每个文本都对其他文本开放，并与其他文本联系。元戏剧理论也差不多发迹于上世纪六十年代，莱昂内尔•阿贝尔在1963年指出，戏剧是为了表现戏剧化了的生活，间接的反映生活和人们自己。上世纪八十年代，理查德•霍恩比具体化和系统化了阿贝尔的理论，梳理出了五种元戏剧类型：戏中戏，戏中的仪式，演中有演，文学和真实生活中的指称，以及自我指称。《莎翁情史》是汤姆•斯托帕德和马克•纽曼共同创作的剧本，获得了1998年奥斯卡最佳原创剧本奖。其中体现了很多互文性和元戏剧因素。本文将基于其他学者对于互文性和元戏剧的分类具体分析《莎翁情史》中的互文性和元戏剧因素，以及这些因素对文本的作用。 本文包括三个部分：文献综述，主体，总结。文献综述部分将具体解释《莎翁情史》的具体信息以及之前的互文性和元戏剧领域的研究成果。主体部分将具体分析《莎翁情史》中的互文性和元戏剧因素及其作用。总结部分既对全文的总结。

Intertextuality analysis generated from structuralism at about1960s. Mikhail Bakhtin, Julia Kristeva, Roland Barthes, Jonathan Culler and many other scholars gradually built up this very important analysis theory in today’s literature research. It believes that author is no longer important in the creation of texts. The textual creation is merely an “interplay” between different texts and the boarder of text gradually diminishes. Each text is opened to and connected with other texts. Metadrama is also a relatively new concept. In 1963, Lionel Abel pointed out drama is to show a dramatic life, related to life indirectly, reflecting themselves. In 1980s Richard Hornby combed five types of metadrama: the play within the play, the ceremony within the play, role playing within the role, literary and real-life reference, self-reference. Shakespeare in love is the Oscar-winning screenplay in 1998 written by Tom Stoppard and Marc Norman which embodies many intertextuality and metadrama elements. This paper aims at analyzing the intertextuality and metadrama elements in Shakespeare in love based on the classification of pervious scholars to see how intertextuality and metadrama work in a specific text and what are their functions. This paper consists of three parts: literature review, body part, and conclusion. The literature review part gives a detailed introduction of the screenplay, the previous research in intertextuality and metadrama field, and the classification of intertextuality and metadrama by other scholars. The body part analyzes the intertextuality and metadrama elements and their uses in the screenplay. The conclusion part gives a summary to the whole paper. Through this paper, I hope I can provide a new angle to the analysis of the screenplay.