英國文藝復興時期之劇作家理查．伯若姆所著之《對蹠地》(1638)是一齣旅遊喜劇，本論文討論該劇具有「後設戲劇」之特質，亦即該劇是一齣討論戲劇的劇本。《對蹠地》的主要劇情發展呈現在「劇中劇」中，我們看到演員、導演/編劇者很清楚知道他們在表演一齣戲，他們不停地張羅演出的道具、服飾，討論演出的問題和技巧，將後台真實情景全部呈現。再者，「劇中劇」之外的舞台上的演員觀眾也相互批評討論所觀賞的「劇中劇」。簡言之，《對蹠地》以舞台劇演出之現實層面摧毀戲劇呈現真實人生的迷思。

　　　　　Richard Brome’s The Antipodes (or, The World Upside Down) (1638), a Renaissance travel play, can be viewed as a metadrama, which is a play about plays. The main part of The Antipodes includes a play within the play, wherein actors and the director/playwright are aware that they are performing a play and keep discussing the making of the said play. Moreover, the on-stage audience keeps commenting on the acting of these players. Dramatic “realism” is repeatedly undermined by theatrical practices.