By Roberta Barker
Utilizing 9 fresh theatrical and cinematic productions as case experiences, it considers the effective contradictions and tensions that happen whilst modern actors practice the gender norms of past cultures. it will likely be of curiosity to theatre practitioners in addition to to scholars of early glossy drama, of functionality, and of gender reports.
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Additional info for Early Modern Tragedy, Gender and Performance, 1984–2000: The Destined Livery
Sample text
She argues that we need to seek such moments of denaturalization in multiple domains Introduction 19 in order to ‘displace the very gender norms that enable the repetition itself’ (Gender Trouble 148). Performance might seem an excellent place to execute such a search, since the theatrical conventions and repetitions by which it creates ‘character’ remind us of the conventions and repetitions that ground social identity. But Butler is notoriously uncomfortable with a definition of gender that would associate its performativity with theatricality.
162). 163), loudly enough for his mother and the rest of the spectators to hear. He was using Ophelia to demonstrate his earlier points about the essential frailty of feminine nature. 255–6), he told his erstwhile beloved. 155). The Feminist Ophelia and the (Re)production of Gender 39 IV. ‘Incapable of her own distress’ In Shakespeare’s playtext, the play scene provides the audience’s last glimpse of the Ophelia it has known to this point. When next she appears, her sanity has disintegrated along with the male structure that once defined her life.
On the world stage as on the theatrical one, apparently opposing constructions of identity are placed in dialogue—or into conflict—with one another. If we can learn to pay closer attention to the products of their negotiations, we may begin to wear our own destined liveries with a difference. Part I Realism and Reinscription When women have their choices, commonly They do but buy their thraldoms, and bring great portions To men to keep ’em in subjection. —Thomas Middleton, Women Beware Women 1 What We Are, But Not What We May Be: The Feminist Ophelia and the (Re)production of Gender I.