Gender in Play on the Shakespearean Stage: Boy Heroines and Female PagesUniversity of Michigan Press, 1994 - 282 Seiten Cross-dressing, sexual identity, and the performance of gender are among the most hotly discussed topics in contemporary cultural studies. A vital addition to the growing body of literature, this book is the most in-depth and historically contextual study to date of Shakespeare's uses of the heroine in male disguise--man-playing-woman-playing-man--in all its theatrical and social complexity. Shapiro's study centers on the five plays in which Shakespeare employed the figure of the "female page": The Two Gentlemen of Verona, The Merchant of Venice, As You Like It, Twelfth Night, and Cymbeline. Combining theater and social history, Shapiro locates Shakespeare's work in relation to controversies over gender roles and cross-dressing in Elizabethan England. The popularity of the "female page" is examined as a playful literary and theatrical way of confronting, avoiding, or merely exploiting issues such as the place of women in a patriarchal culture and the representation of women on stage. Looking beyond and behind the stage for the cultural anxieties that found their way into Shakespearean drama, Shapiro considers such cases as cross-dressing women in London being punished as prostitutes and the alleged homoerotic practices of the apprentices who played female roles in adult companies. Shapiro also traces other Elizabethan dramatists' varied uses of the cross-dressing motif, especially as they were influenced by Shakespeare's innovations. "Shapiro's engaging study is distinguished by the scope of interrelated topics it draws together and the balance of critical perspectives it brings to bear on them." --Choice Michael Shapiro is Professor of English, University of Illinois, Urbana. |
Inhalt
A Brief Social History of Female CrossDressing | 15 |
Male CrossDressing in Playhouses and Plays | 29 |
CrossGender Disguise plus CrossGender Casting | 49 |
Bringing the Page Onstage The Two Gentlemen of Verona | 65 |
Doubling CrossGender Disguise The Merchant of Venice | 93 |
Layers of Disguise As You Like It | 119 |
Anxieties of Intimacy Twelfth Night | 143 |
From Center to Periphery Cymbeline | 173 |
Epilogue | 199 |
Appendixes | 205 |
Sources Analogues and Models | 207 |
Chronological List of Plays with Heroines in Male Disguise | 221 |
Legal Records of CrossDressing | 225 |
Notes | 235 |
| 277 | |
Andere Ausgaben - Alle anzeigen
Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages Michael Shapiro Eingeschränkte Leseprobe - 2023 |
Häufige Begriffe und Wortgruppen
actresses androgyny Antonio argues audience audience's Bassanio Bellario boy actor boy bride boy heroine Bridewell Cesario cheeky Comedy court cross-dressed cross-dressed heroine cross-gender casting cross-gender disguise Cymbeline disguised heroine donned male dramatic dramatists dressed Elizabethan English Renaissance evoke female character female cross-dressing female impersonators female pages female roles femininity Fletcher Gallathea Ganymed gender identity Gentlemen of Verona heroine in male heroine's Hic Mulier homoerotic homosexual Imogen intimacy Jacobean Jonson Julia King's Lady Lady Mary Wroth layers of gender layers of identity London lover Lylian male actors male apparel male attire male disguise male identity male performer Merchant of Venice Middleton motif Mulier narrative Olivia onstage Orlando Orsino page's Philaster play-boy play's playhouse playwrights plot Portia presence prostitutes Proteus reflexive reveals Roaring Girl romance Rosalind Sebastian servant sexual Shakespeare Silvia social spectators stage theater theatrical vibrancy thee tragicomedy transvestism transvestite Twelfth Night Viola wife woman women
Beliebte Passagen
Seite 266 - Carol Thomas Neely, Broken Nuptials in Shakespeare's Plays (New Haven: Yale University Press, 1985), 61-62. Howard Felperin, Shakespearean Romance (Princeton: Princeton University Press, 1972), 93, argues that the bed-trick in the two problem comedies differs from the "benign deception^]" of earlier comedies and "reflects—and reflects upon— the moral ambivalence at the very core of these plays.
Seite 268 - Norman Rabkin, Shakespeare and the Common Understanding (New York: Free Press, 1967), p.
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