{"id":20053,"date":"2024-04-07T23:44:42","date_gmt":"2024-04-07T23:44:42","guid":{"rendered":"https:\/\/www.writemyessays.app\/blog\/questions\/transforming-gender-representations-in-theatre-a-cultural-and-historical-analysis\/"},"modified":"2024-04-07T23:44:42","modified_gmt":"2024-04-07T23:44:42","slug":"transforming-gender-representations-in-theatre-a-cultural-and-historical-analysis","status":"publish","type":"questions","link":"https:\/\/www.writemyessays.app\/blog\/questions\/transforming-gender-representations-in-theatre-a-cultural-and-historical-analysis\/","title":{"rendered":"Transforming Gender Representations in Theatre: A Cultural and Historical Analysis"},"content":{"rendered":"

Purpose<\/h3>\n

The purpose of this assignment is to develop your communication skills and create a scholarly response to a class question or dilemma. I encourage you to think \u201cHere\u2019s what in theatre history can speak to us\u201d OR, \u201cHere\u2019s something in my own background or a background that interests me, about theatre histories, how stories have mattered and been told, something we haven\u2019t covered or something I want to know more about.\u201d <\/p>\n

 Preliminary Thesis<\/span><\/p>\n



“<\/span>This paper examines the transformation of how gender is presented in both Japanese Kabuki and Western theatre in the Elizabethan to Restoration periods, through which theatrical gender representations are shown to also influence and shape society’s views on genders over the course of cultures and history.<\/span>\u201d (PROF NOTE: how? be more specific)<\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

Outline<\/span><\/span><\/p>\n

    \n
  1. \n

    Introduction<\/span><\/p>\n<\/li>\n<\/ol>\n

      \n
    1. \n

      Give a slight outline that theatre is a mirror that reveals our customs and therefore can transform and change the way we view gender.<\/span><\/p>\n<\/li>\n

    2. \n

      Emphasize the purpose of exploring the gender representations interchanging different theatre forms and periods.<\/span><\/p>\n<\/li>\n

    3. \n

      Thesis statement<\/span><\/p>\n<\/li>\n<\/ol>\n


      <\/b><\/span><\/span><\/p>\n

        \n
      1. \n

        Historical Context and Gender in Theatre<\/span><\/p>\n<\/li>\n<\/ol>\n

          \n
        1. \n

          Past Japan and Gender Representation (Isaka, 2023)<\/span><\/p>\n<\/li>\n

            \n
          1. \n

            Discuss the genesis of gender portrayal in traditional Japanese theatre, in particular, paying attention to Kabuki and using Onnagata as an example. Talk about the term “feminine masculinity” that Isaka has incorporated and its cultural significance.<\/span><\/p>\n<\/li>\n<\/ol>\n

          2. \n

            Western Theatre: Linguistically, from Elizabethan to Restoration eras (Class Week 7 & 17 Notes; Berlanstein, 1996)<\/span><\/p>\n<\/li>\n

              \n
            1. \n

              Follow up through the initial phase of Elizabethan theatre where male actors were used to portraying female roles to the introduction of female actors in the Restoration era and the cultural transition that allowed gender ambiguity to be witnessed on stage (Berlanstein, 1996).<\/span><\/p>\n<\/li>\n<\/ol>\n<\/ol>\n


              <\/b><\/span><\/span><\/p>\n

                \n
              1. \n

                Modern Interpretations and Performative Identities (Reddy, 2003)<\/span><\/p>\n<\/li>\n<\/ol>\n

                  \n
                1. \n

                  Dive into the performative dimensions of race, sexuality, and gender as construed by Reddy\u00b4s analysis of Colleen Craig\u00b4s pieces. Explore how modern theatre goes against the traditional viewpoint on gender and constantly pushes boundaries.<\/span><\/p>\n<\/li>\n<\/ol>\n


                  <\/b><\/span><\/span><\/p>\n

                    \n
                  1. \n

                    Comparative Analysis<\/span><\/p>\n<\/li>\n<\/ol>\n

                      \n
                    1. \n

                      Theatrical Practices Across Cultures (Isaka, 2023; Class Week 7 Notes)<\/span><\/p>\n<\/li>\n<\/ol>\n

                        \n
                      1. \n

                        Contrast the manner and mode in which gender is portrayed in Japanese Kabuki with that in Western theatre, from the Elizabethan and Restoration periods. Bring forward the same and dissimilar patterns of society as well as the regulatory reactions.<\/span><\/p>\n<\/li>\n<\/ol>\n

                              B. <\/span>\t<\/span><\/span>Gender Ambiguity and Societal Response (Berlanstein, 1996)<\/span><\/p>\n

                          \n
                        1. \n

                          Evaluate the role of cross-dress theatre on French culture, paying special attention to the “gender of ambiguity” effects as discussed by Bernstein. While the same moods can be observed in Kabuki Theatre and Restoration England both of the opposites, on the other hand.<\/span><\/p>\n<\/li>\n<\/ol>\n


                          <\/b><\/span><\/span><\/p>\n

                            \n
                          1. \n

                            Theoretical Frameworks (Isaka, 2023; Reddy, 2003)<\/span><\/p>\n<\/li>\n<\/ol>\n

                              \n
                            1. \n

                              Use theoretical frameworks to see the intricacy of the issue and combine Isaka and Reddy’s positions. Discuss in what aspects they go against the norm and where the norms are reinforced.<\/span><\/p>\n<\/li>\n<\/ol>\n


                              <\/b><\/span><\/span><\/p>\n

                                \n
                              1. \n

                                Conclusion<\/span><\/p>\n<\/li>\n<\/ol>\n

                                <\/span><\/span><\/span><\/p>\n

                                  \n
                                1. \n

                                  Outline the significant conclusions that have been made after comparing the Japanese and Western theatrical traditions.<\/span><\/p>\n<\/li>\n

                                2. \n

                                  However, think about the continuous transformation of gender depiction in a theatre as well as its repercussions on public thought about gender.<\/span><\/p>\n<\/li>\n<\/ol>\n

                                  <\/div>\n
                                  MUST INCLUDE INTEXT CIATIONS AND CLASS NOTES <\/span>sources:<\/div>\n
                                  <\/div>\n
                                  <\/p>\n

                                  Berlanstein, L. R. (1996). Breeches and Breaches: Cross-Dress Theater and the Culture <\/span><\/p>\n

                                  of Gender Ambiguity in Modern France. <\/span><\/p>\n

                                  Isaka, M. (2023, November 1). <\/span>Masculinized femininity of women characters on the Kabuki <\/span><\/p>\n

                                  stage: Female Onnagata\u2019s \u201ccross-gender\u201d performance in the \u201call-male\u201d theatre<\/span>. Sage Journals.<\/span><\/span><\/span><\/p>\n

                                  <\/p>\n

                                  Reddy, V. (2003, January). Performative Identities: Race, Sexuality and Gender in <\/span><\/p>\n

                                  Colleen Craig\u2019s Crossing the Line (1989) and Apart (1995)1. https:\/\/journals-scholarsportal-info.proxy.queensu.ca\/details\/1013929x\/v15i0002\/138_pirsagcctlaa.xml <\/span><\/p>\n

                                  <\/span><\/p>\n

                                  Week 7 class notes:<\/span><\/span><\/span><\/p>\n

                                  <\/p>\n

                                  Early Japan<\/span><\/p>\n

                                   <\/span><\/p>\n

                                  ORIGINS<\/span><\/p>\n

                                    \n
                                  • \n

                                    Shinto<\/span><\/p>\n<\/li>\n

                                  • \n

                                    Polytheistic<\/span><\/p>\n<\/li>\n

                                  • \n

                                    Animism \u2013 kami<\/span><\/p>\n<\/li>\n

                                  • \n

                                    Myth about Shinto sun goddess Amaterasu, 8th c CE<\/span><\/p>\n<\/li>\n<\/ul>\n

                                     <\/span><\/p>\n

                                    Ritual and Dance<\/span><\/p>\n

                                      \n
                                    • \n

                                      Kagura<\/span><\/p>\n<\/li>\n

                                        \n
                                      • \n

                                        Ritualistic Shinto dance, derived from Uzume<\/span><\/p>\n<\/li>\n

                                      • \n

                                        Performed at shrines by shamanistic priestesses, in villages at festivals, court<\/span><\/p>\n<\/li>\n<\/ul>\n<\/ul>\n

                                         <\/span><\/p>\n

                                        Buddhism<\/span><\/p>\n

                                          \n
                                        • \n

                                          mid-6th century<\/span><\/p>\n<\/li>\n

                                        • \n

                                          Connections with Korea and China<\/span><\/p>\n<\/li>\n

                                        • \n

                                          Not a replacement for Shintoism<\/span><\/p>\n<\/li>\n<\/ul>\n

                                            \n
                                          • \n

                                            Gigaku<\/span><\/p>\n<\/li>\n

                                              \n
                                            • \n

                                              Masked performance involving music and silent mime<\/span><\/p>\n<\/li>\n<\/ul>\n<\/ul>\n

                                               <\/span><\/p>\n

                                              Nara Period 710-794 CE<\/span><\/p>\n

                                                \n
                                              • \n

                                                Bugaku<\/span><\/p>\n<\/li>\n

                                                  \n
                                                • \n

                                                  Court dance for upper classes and elites<\/span><\/p>\n<\/li>\n

                                                • \n

                                                  Gigaku eventually ceases; bugaku continues today<\/span><\/p>\n<\/li>\n

                                                • \n

                                                  Slow, elegant, precise<\/span><\/p>\n<\/li>\n

                                                • \n

                                                  Elaborate costumes and masks<\/span><\/p>\n<\/li>\n

                                                • \n

                                                  Raised stage 7m by 7m<\/span><\/p>\n<\/li>\n

                                                • \n

                                                  Slow intro and general increase in pace<\/span><\/p>\n<\/li>\n

                                                • \n

                                                  Sometimes narrative, sometimes abstract<\/span><\/p>\n<\/li>\n

                                                • \n

                                                  Hindu-Buddhist cosmology \u2013 four cardinal directions<\/span><\/p>\n<\/li>\n

                                                • \n

                                                  Reflection, contemplation, veneration of universe\u2019s laws<\/span><\/p>\n<\/li>\n<\/ul>\n<\/ul>\n

                                                   <\/span><\/p>\n

                                                  Heian Period 794-1185 CE<\/span><\/p>\n

                                                    \n
                                                  • \n

                                                    Lots of cultural developments<\/span><\/p>\n<\/li>\n

                                                  • \n

                                                    Samurai increase in power = dominant social class<\/span><\/p>\n<\/li>\n

                                                  • \n

                                                    Shogun \u2022 = shift in cultural taste<\/span><\/p>\n<\/li>\n

                                                  • \n

                                                    (broadly) from elegant to brash<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                     <\/span><\/p>\n

                                                    2 main types of popular performance<\/span><\/p>\n

                                                      \n
                                                    • \n

                                                      Dengaku<\/span><\/p>\n<\/li>\n

                                                        \n
                                                      • \n

                                                        closely related to Shinto religion (animism)<\/span><\/p>\n<\/li>\n

                                                      • \n

                                                        SHOCKING!<\/span><\/p>\n<\/li>\n

                                                      • \n

                                                        Political turmoil, mass hysteria, dangerous<\/span><\/p>\n<\/li>\n

                                                      • \n

                                                        \u201cDengaku madness\u201d<\/span><\/p>\n<\/li>\n

                                                      • \n

                                                        In-between regulated forms of being \u2013 wearing wrong clothing for class\/gender, behaving i llega lly, dance naked in the street<\/span><\/p>\n<\/li>\n

                                                      • \n

                                                        \/\/ Shinto religion in terms of fertility dances, supernatural female powers, unbridled female sexuality<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                      • \n

                                                        Sarugaku \u2013 pantomime, acrobatics, magic<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                         <\/span><\/p>\n

                                                        Eyewitness Account<\/span><\/p>\n

                                                          \n
                                                        • \n

                                                          from 1349 describes exotic animal skins, golden curtains, huge audience: The number of those who died among the great piles of fallen timber is past all knowing. In the confusion thieves began stealing swords. . . . Cries and shouts rose up from people who had had limbs broken or slashed; from others, stained with blood, who had been run through with swords or halberds . . . and from others still who had scalded themselves with the boiling water used for making tea. . . . The dengaku players, still wearing devilmasks and brandishing red canes, gave chase to thieves escaping w ith stolen costumes . . . Young servants unsheathed their weapons and went after men who had carried off their masters\u2019 ladies. . . . It was as if Hell\u2019s unending battles and the tortures of its demons were being carried out before one\u2019s eyes – O’Neill, 1958: 75-77<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                           <\/span><\/p>\n

                                                          Towards Noh<\/span><\/p>\n

                                                            \n
                                                          • \n

                                                            16 yr old shogun Yoshimitsu known for \u201cwild tastes\u201d<\/span><\/p>\n<\/li>\n

                                                          • \n

                                                            dengaku<\/span><\/p>\n<\/li>\n

                                                          • \n

                                                            aristocratic advisors want to move him away from the female, Shinto, transgressive dengaku towards rational \u201cmasculine\u201d values which are less threatening<\/span><\/p>\n<\/li>\n

                                                          • \n

                                                            advisor takes him to sarugaku in 1374<\/span><\/p>\n<\/li>\n

                                                          • \n

                                                            Sarugaku -> Buddhist burial rites = calm, stoic, masculine<\/span><\/p>\n<\/li>\n

                                                          • \n

                                                            Yoshimitsu sees 11 year old Zeami perform and   <\/span>\t<\/span><\/span>brings him back to court as a companion (likely for a sexual relationship)<\/span><\/p>\n<\/li>\n

                                                          • \n

                                                            Over time, and under the inf luence of the court, Zeami transforms Sarugaku into Noh<\/span><\/p>\n<\/li>\n

                                                          • \n

                                                            Stately, poetic, all-male, Buddhist<\/span><\/p>\n<\/li>\n

                                                          • \n

                                                            Writes several plays including Atsumori and also treatises on performance<\/span><\/p>\n<\/li>\n

                                                          • \n

                                                            + father Kan\u2019ami considered founder of Noh<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                             <\/span><\/p>\n

                                                             <\/span><\/p>\n

                                                            Noh<\/span><\/p>\n

                                                              \n
                                                            • \n

                                                              Zeami has a clear formula!<\/span><\/p>\n<\/li>\n

                                                            • \n

                                                              Draw from myth, legend, history<\/span><\/p>\n<\/li>\n

                                                            • \n

                                                              Clear main character starts disguised in Act I, revealed Act II<\/span><\/p>\n<\/li>\n

                                                            • \n

                                                              Often ghost or demon<\/span><\/p>\n<\/li>\n

                                                            • \n

                                                              Noh\u2014its name derived from n\u014d, meaning \u201ctalent\u201d or \u201cskill\u201d\u2014is unlike Western narrative drama. Rather than being actors or \u201crepresenters\u201d in the Western sense, Noh performers are simply storytellers who use their visual appearances and their movements to suggest the essence of their tale rather than to enact it. Little \u201chappens\u201d in a Noh drama, and the total effect is less that of a present action than of a simile or metaphor made visual. The educated spectators know the story\u2019s plot very well, so that what they appreciate are the symbols and subtle allusions to Japanese cultural history contained in the words and movements. – from the Encyclopedia Britannica entry on Noh Theatre<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                               <\/span><\/p>\n

                                                              Zeami wrote a great deal about the aesthetics of Noh, and put forth two important concepts: monomane and y\u016bgen.<\/span><\/p>\n

                                                               <\/span><\/p>\n

                                                              MONOMANE “Monomane is the imitation of character. By imitating \u201cthe three roles\u201d(male, female, or old person), the actor reveals the fictional character\u2019s invisible body. For Zeami, a mask allows the actor to become another character; his body becomes a vessel inhabited by another\u2019s \u201cessence,\u201d which resides in the mask. According to Steven T. Brown, \u201cUnderneath the actor\u2019s costume and mask is the body of the actor transformed into the virtual body of the other\u201d (2001: 26)<\/span><\/p>\n

                                                               <\/span><\/p>\n

                                                              YUGEN Yugen is a deep, quiet, mysterious beauty tinged with sadness. Zeami expands its meaning to refer to both text and performance, emphasizing the fleeting, melancholy nature of human existence. The greatest yugen appears in plays about aged, dispossessed, or formerly beautiful women who are reduced to poverty, madness, or regret.” – Bruce McConachie, et al. Theatre Histories : An Introduction. 3rd ed., Routledge, 2016, 98.<\/span><\/p>\n

                                                               <\/span><\/p>\n

                                                              Noh Key Features<\/span><\/p>\n

                                                                \n
                                                              • \n

                                                                Shite \u2013 lead actor (the doer)<\/span><\/p>\n<\/li>\n

                                                              • \n

                                                                Waki \u2013 secondary (the listener), often priest<\/span><\/p>\n<\/li>\n

                                                              • \n

                                                                3-4 musicians (flute and drums)<\/span><\/p>\n<\/li>\n

                                                              • \n

                                                                8-15 chorus members<\/span><\/p>\n<\/li>\n

                                                              • \n

                                                                All male performers<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                 <\/span><\/p>\n

                                                                Masks<\/span><\/p>\n

                                                                  \n
                                                                • \n

                                                                  Carved from wood; minimal<\/span><\/p>\n<\/li>\n

                                                                • \n

                                                                  450 different masks, based on sixty types<\/span><\/p>\n<\/li>\n

                                                                • \n

                                                                  Gender, social class, age, humanness (e.g. animal, demon, divine)<\/span><\/p>\n<\/li>\n

                                                                • \n

                                                                  Only shite wears usually<\/span><\/p>\n<\/li>\n

                                                                • \n

                                                                  Slightly smaller than actor\u2019s face<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                   <\/span><\/p>\n

                                                                  K\u014dken<\/span><\/p>\n

                                                                    \n
                                                                  • \n

                                                                    Stage Assistants<\/span><\/p>\n<\/li>\n

                                                                  • \n

                                                                    Handle props, assist with costumes, prompt actors<\/span><\/p>\n<\/li>\n

                                                                  • \n

                                                                    Visible to audiences; but unobtrusive<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                     <\/span><\/p>\n

                                                                    Ky\u014dgen<\/span><\/p>\n

                                                                      \n
                                                                    • \n

                                                                      Short comedic plays inbetween Noh performances<\/span><\/p>\n<\/li>\n

                                                                    • \n

                                                                      5 noh, 4 kyogen<\/span><\/p>\n<\/li>\n

                                                                    • \n

                                                                      Male<\/span><\/p>\n<\/li>\n

                                                                    • \n

                                                                      May also have small part in noh<\/span><\/p>\n<\/li>\n

                                                                    • \n

                                                                      SOCIAL INVERSION<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                       <\/span><\/p>\n

                                                                      Theatrical Duality<\/span><\/p>\n

                                                                        \n
                                                                      • \n

                                                                        Theatrical duality: simultaneous real\/unreal<\/span><\/p>\n<\/li>\n

                                                                      • \n

                                                                        Liminal? Or Binocular Vision?<\/span><\/p>\n<\/li>\n

                                                                      • \n

                                                                        Victor Turner on lim inality: \u201cneither here nor there; they are betwixt and between the positions assigned and arrayed by law, custom, convention, and ceremony\u201d (1969: 95)\u201d<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                         <\/span><\/p>\n

                                                                        Ongoing Themes<\/span><\/p>\n

                                                                          \n
                                                                        • \n

                                                                          Theatre as a tool; as utilitarian (assimilation, dictatorial control, etc.)<\/span><\/p>\n<\/li>\n

                                                                        • \n

                                                                          The impact of social class stratification on performance<\/span><\/p>\n<\/li>\n

                                                                        • \n

                                                                          Perceived seat of power: playwright, actor, audience<\/span><\/p>\n<\/li>\n

                                                                        • \n

                                                                          Theatre\u2019s interaction with Religion and Spirituality<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                           <\/span><\/p>\n

                                                                          Japan to the 17th Century<\/span><\/p>\n

                                                                           <\/span><\/p>\n

                                                                          Theatrical Duality<\/span><\/p>\n

                                                                            \n
                                                                          • \n

                                                                            Duality<\/span><\/p>\n<\/li>\n

                                                                              \n
                                                                            • \n

                                                                              Why might you want an audience to continually maintain an awareness of reality?<\/span><\/p>\n<\/li>\n

                                                                            • \n

                                                                              “Art is something that lies in the slender margin between the real and the unreal.” \u2014 Chikamatsu Monzaemon cited in Naniwa Miyage by Hozumi Ikan (1738)<\/span><\/p>\n<\/li>\n<\/ul>\n<\/ul>\n

                                                                               <\/span><\/p>\n

                                                                              Tokugawa (edo) period 1603-1868<\/span><\/p>\n

                                                                                \n
                                                                              • \n

                                                                                So much civil war 1467-1590 \u2013 now is relative stability<\/span><\/p>\n<\/li>\n

                                                                              • \n

                                                                                Turn inwards = isolationist, little influence<\/span><\/p>\n<\/li>\n

                                                                              • \n

                                                                                Deeply hierarchical, including sumptuary laws<\/span><\/p>\n<\/li>\n

                                                                              • \n

                                                                                Merchants become wealthier as economy improves<\/span><\/p>\n<\/li>\n

                                                                              • \n

                                                                                MORE $$$$ = MORE FUN FUN FUN<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                                 <\/span><\/p>\n

                                                                                Kabuki \u6b4c<\/span><\/p>\n

                                                                                  \n
                                                                                • \n

                                                                                  Izumo no Okuni<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Female dance troupe 1603<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Perform Buddhist dances and lewd\/boisterous\/suggestive plays Kyoto dry river bed<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Sex work<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Gender role play, sex workers, cross- dressing, foreign dress<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Kabuku \u2013 to tilt or slant dangerously<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Kabuki-mono \u2013 counter culture<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Today kabuki is written using the Chinese characters for “songdance-skill” or “songdance-technique”: \u6b4c\u821e \u4f0e<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Becomes very popular!<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Many theatres in Yoshiwara (red-light district) of Edo (Tokyo)<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Business relationships with brothels<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Female, male, mixed-gender troupes<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  This makes the government v. nervous\u2026.<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Sex work \u2013 fine, cross-dressing \u2013 fine, lewd behaviour \u2013 fine but class mingling! =Social Rebellion!<\/span><\/p>\n<\/li>\n

                                                                                • \n

                                                                                  Forbid upper-class women, samurai, aristocrats from attending \u2013 But we all know that sometimes rules don\u2019t work so well<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                                   <\/span><\/p>\n

                                                                                  Onna-kabuki<\/span><\/p>\n

                                                                                    \n
                                                                                  • \n

                                                                                    1629 onna-kabuki<\/span><\/p>\n<\/li>\n

                                                                                  • \n

                                                                                    (women\u2019s kabuki) banned (and then a couple more times)<\/span><\/p>\n<\/li>\n

                                                                                  • \n

                                                                                    Not enough<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                                     <\/span><\/p>\n

                                                                                    Wakash\u016b-kabuki<\/span><\/p>\n

                                                                                      \n
                                                                                    • \n

                                                                                      1652 wakash\u016b-kabuki (young male kabuki) banned<\/span><\/p>\n<\/li>\n

                                                                                    • \n

                                                                                      Class mingling vis a vis love affairs and sex work<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                                       <\/span><\/p>\n

                                                                                      Yaro-kabuki<\/span><\/p>\n

                                                                                        \n
                                                                                      • \n

                                                                                        We end up with adult male performers<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                                         <\/span><\/p>\n

                                                                                        Stage Architecture<\/span><\/p>\n

                                                                                          \n
                                                                                        • \n

                                                                                          Builds off of Noh<\/span><\/p>\n<\/li>\n

                                                                                        • \n

                                                                                          Look for similarities\/differences<\/span><\/p>\n<\/li>\n

                                                                                        • \n

                                                                                          Hanamichi (\u82b1\u9053 flower path) extends into audience<\/span><\/p>\n<\/li>\n

                                                                                        • \n

                                                                                          Increased spectacle<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                                           <\/span><\/p>\n

                                                                                          Kabuki vs. noh<\/span><\/p>\n

                                                                                          \u201cNoh is austere, kabuki flamboyant; noh ritual, kabuki spectacle; noh offers spiritual consolation, kabuki physical excitement; noh seeks chaste models, kabuki delights in the eccentric, the extravagant and the willfully perverse; noh is gentle, kabuki cruel; noh is concerned with the hereafter, kabuki bound by the here- and-now\u201d – Peter Arnott<\/span><\/p>\n

                                                                                           <\/span><\/p>\n

                                                                                          \u201cCounter-Culture\u201d<\/span><\/p>\n

                                                                                            \n
                                                                                          • \n

                                                                                            Danger of social rebellion<\/span><\/p>\n<\/li>\n

                                                                                          • \n

                                                                                            Disapproval leads to professionalism \u2013 rules and regulations: disrupting or supporting growth\/development?<\/span><\/p>\n<\/li>\n

                                                                                          • \n

                                                                                            So when does counter-culture become culture?<\/span><\/p>\n<\/li>\n

                                                                                              \n
                                                                                            • \n

                                                                                              Romanticism, Hippies, Punk, Drag\u2026<\/span><\/p>\n<\/li>\n<\/ul>\n<\/ul>\n

                                                                                               <\/span><\/p>\n

                                                                                              Onnagata<\/span><\/p>\n

                                                                                                \n
                                                                                              • \n

                                                                                                Male actor specializing in female kabuki roles<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                \u201cRealer than real? Imaging \u2018woman\u2019 in kabuki\u201d by Tamara Underiner with Carol Fisher Sorgenfrei and Tobin Nelhaud<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                Yoshizawa Ayame I (17th and 18th century)<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                Male onnagata should also live as women, even if they are married to a woman and have children<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                \u201dNo one objected. And no one was fooled.\u201d<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                We can read \u201cfemale\u201d while also knowing \u201cmale\u201d<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                Band\u014d Tamasabur\u014d V<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                At first, this is as a result of legislation<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                But after the ban on female performers is repealed and relaxed in 1888\u2026 why does it persist?<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                \u201cin Japan, males are superior to females in every way \u2013 from the shape of the face, eyes, nose, and mouth to body type and size. Females can be beautiful too, but they usually have some flaw\u2026 since these flaws do not allow an actress to complement a male lead, it is only obvious that males should continue to performance women onstage\u201d (Male Japanese theatre scholar in 1914, qtd in Robertson 1998: 57).<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                Feminist pushback from 1868<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                Some female performers (not professional)<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                E.g. Ichikawa Kumehachi I (1846- 1913)<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                \u201constage, nobody can tell that she is not a man\u201d<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                \u201cauthentic\u201d kabuki<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                Portrayal of male-identified aesthetic ideals: patriarchally inscribed, stateregulated \u201cfemale\u201d<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                 A level of ideal \u2018feminine\u2019 that women cannot achieve<\/span><\/p>\n<\/li>\n

                                                                                              • \n

                                                                                                A model for females offstage to emulate and a sex object for males offstage to proposition<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                                                 <\/span><\/p>\n

                                                                                                Gender performance<\/span><\/p>\n

                                                                                                  \n
                                                                                                • \n

                                                                                                  What ideas about gender are present in your cultural background?<\/span><\/p>\n<\/li>\n

                                                                                                • \n

                                                                                                   What resonances (if any) exist between kabuki performance of \u2018woman\u2019 and contemporary drag performances of \u2018woman\u2019?<\/span><\/p>\n<\/li>\n

                                                                                                • \n

                                                                                                  Are exaggerated gender performances (as seen in Kabuki and drag) disruptive of gender norms or reinforcing of gender norms? Does it reinforce binarism (binary of man and woman)? Or does it trouble it?<\/span><\/p>\n<\/li>\n

                                                                                                • \n

                                                                                                  Judith Butler \u2013 gender is a social construct, built up through repeated performance. They thinks of gender as a verb rather than a noun.<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                                                   <\/span><\/p>\n

                                                                                                  Judith Butler\u2019s GENDER THEORY<\/span><\/p>\n

                                                                                                    \n
                                                                                                  • \n

                                                                                                    In brief:<\/span><\/p>\n<\/li>\n

                                                                                                  • \n

                                                                                                    We have multiple selves, hailed into being in different contexts. These selves are discursively constructed.<\/span><\/p>\n<\/li>\n

                                                                                                  • \n

                                                                                                    Davies and Harre 1990, Althusser<\/span><\/p>\n<\/li>\n

                                                                                                  • \n

                                                                                                    E.g. discourse (written or spoken communication) is one of the key constructors of identity.<\/span><\/p>\n<\/li>\n

                                                                                                  • \n

                                                                                                    I post twenty Instagram photos of nature, and I become \u2018Kelsey, lover of nature.\u2019 Who are you talking to? How does that impact which self you perform?<\/span><\/p>\n<\/li>\n

                                                                                                  • \n

                                                                                                    Gender is a \u2018performance\u2019 of certain coded acts<\/span><\/p>\n<\/li>\n

                                                                                                  • \n

                                                                                                    Women do such-and-such. I will do such-and-such, establishing myself as woman.<\/span><\/p>\n<\/li>\n

                                                                                                  • \n

                                                                                                    Performativity of gender is a stylized repetition of acts, an imitation or miming of the dominant conventions of gender.<\/span><\/p>\n<\/li>\n

                                                                                                  • \n

                                                                                                    Performativity has to do with repetition, very often the repetition of oppressive and painful gender norms . . . We are products of our world: we may unconsciously reperform genders because we are conditioned to do so.<\/span><\/p>\n<\/li>\n

                                                                                                  • \n

                                                                                                    \u201cDrag is subversive to the extent that it reflects on the imitative structure by which hegemonic gender is itself produced and disputes heterosexuality\u2019s claim on naturalness and originality\u201d (Bodies that Matter). Drag reveals gender as performance through its often exaggerated performance.<\/span><\/p>\n<\/li>\n<\/ul>\n

                                                                                                     <\/span><\/p>\n




                                                                                                    <\/p>\n

                                                                                                    DRAM 200 Week 17<\/span><\/p>\n



                                                                                                    <\/p>\n

                                                                                                    England had been alternating between Catholic and<\/span><\/p>\n

                                                                                                    Protestant, depending on the ruler<\/span><\/p>\n

                                                                                                    \u00adElizabeth I was Protestant<\/span><\/p>\n

                                                                                                    Puritans were an especially … ‘enthusiastic’ group of<\/span><\/p>\n

                                                                                                    Protestants<\/span><\/p>\n

                                                                                                    \u00adthere was still too much Catholicism in England<\/span><\/p>\n

                                                                                                    \u00adwere a very strict, conservative group<\/span><\/p>\n

                                                                                                    Salem witch trials or The Crucible by Arthur Miller: lots of Puritans sailed to America<\/span><\/p>\n

                                                                                                    to start or join colonies in the 16th and 17th centuries for religious freedom<\/span><\/p>\n

                                                                                                    Believed in constantly searching for signs of God’s anger or pleasure. <\/span><\/p>\n

                                                                                                    ENGLAND: PARTY VS PURITAN<\/span><\/p>\n

                                                                                                    Henrietta Maria 1609-1669<\/span><\/p>\n

                                                                                                    – Married to King Charles I<\/span><\/p>\n

                                                                                                    – She loves performing and<\/span><\/p>\n

                                                                                                    has a very strong interest in<\/span><\/p>\n

                                                                                                    the arts<\/span><\/p>\n

                                                                                                    – She is also Catholic (the<\/span><\/p>\n

                                                                                                    country is Protestant)<\/span><\/p>\n

                                                                                                    – In 1633 Maria plans on<\/span><\/p>\n

                                                                                                    performing in The Shepherd\u2019s<\/span><\/p>\n

                                                                                                    BUT this becomes an example of draconian<\/span><\/p>\n

                                                                                                    measures of monarchy<\/span><\/p>\n

                                                                                                    \u00adKing Charles I is executed in 1649<\/span><\/p>\n

                                                                                                    \u00adOliver Cromwell comes to power<\/span><\/p>\n

                                                                                                    INTERREGNUM<\/span><\/p>\n

                                                                                                    No King = country comes to be ruled<\/span><\/p>\n

                                                                                                    by a man named Oliver Cromwell<\/span><\/p>\n

                                                                                                    Cromwell is MP and leads Parliament<\/span><\/p>\n

                                                                                                    of England’s army against the King<\/span><\/p>\n

                                                                                                    during the Civil War<\/span><\/p>\n

                                                                                                    one of the people who signs King<\/span><\/p>\n

                                                                                                    Charles I’s death warrant<\/span><\/p>\n

                                                                                                    \u2026”Lord Protector” from 1653-1658<\/span><\/p>\n

                                                                                                    Portrait of Oliver Cromwell by Samuel Cooper, 1656<\/span><\/p>\n

                                                                                                    INTERREGNUM<\/span><\/p>\n

                                                                                                    \u2022Surprise! Another Puritan. He is intensely religious,<\/span><\/p>\n

                                                                                                    infamously cancelling Christmas:<\/span><\/p>\n

                                                                                                    \u2022 No Christmas!<\/span><\/p>\n

                                                                                                    \u2022 “Our Christmas lords of misrule, together with dancing,<\/span><\/p>\n

                                                                                                    masks, mummeries, state players, and such other Christmas<\/span><\/p>\n

                                                                                                    disorders, now in use with Christians, were derived from these<\/span><\/p>\n

                                                                                                    Roman Saturnalia and Bacchanalian festivals, which should<\/span><\/p>\n

                                                                                                    cause all pious Christians eternally to abominate them.\u201d<\/span><\/p>\n

                                                                                                    THEATRE?<\/span><\/p>\n

                                                                                                    \u2022 No Theatre!<\/span><\/p>\n

                                                                                                    \u2022 Theatres have been closed since 1642 during First Civil<\/span><\/p>\n

                                                                                                    War: In these “times of humiliation” “public stage-plays” are<\/span><\/p>\n

                                                                                                    representative of “lascivious Mirth and Levity”.<\/span><\/p>\n

                                                                                                    \u2022Ban reinforced in1648 by an act: treatment of actors<\/span><\/p>\n

                                                                                                    as rogues, the demolition of theatre seating, and fines for<\/span><\/p>\n

                                                                                                    spectators.<\/span><\/p>\n

                                                                                                    \u2022\u2026some secret and private performances<\/span><\/p>\n

                                                                                                    Musicals have not been specifically banned!<\/span><\/p>\n

                                                                                                    \u00adWilliam Davenant essentially invents English language opera<\/span><\/p>\n

                                                                                                    \u00adOperas are viewed as \u201cbetter\u201d and not quite so distasteful<\/span><\/p>\n

                                                                                                    WHAT\/WHEN IS THE<\/span><\/p>\n

                                                                                                    RESTORATION?<\/span><\/p>\n

                                                                                                    Political crisis when Cromwell<\/span><\/p>\n

                                                                                                    dies in 1658: his son becomes his<\/span><\/p>\n

                                                                                                    successor<\/span><\/p>\n

                                                                                                    His son has no real<\/span><\/p>\n

                                                                                                    supporters\/power and is forced<\/span><\/p>\n

                                                                                                    to resign<\/span><\/p>\n

                                                                                                    Charles II (son of Charles I) is<\/span><\/p>\n

                                                                                                    invited (restored) back to the<\/span><\/p>\n

                                                                                                    throne in 1660<\/span><\/p>\n

                                                                                                    Cromwell is executed in 1661 BYE PURITAN<\/span><\/p>\n

                                                                                                    HI MERRY MONARCH<\/span><\/p>\n

                                                                                                    EXECUTING THE DEAD?<\/span><\/p>\n

                                                                                                    This is a picture of the death warrant of King Charles I with the 59 signatures and wax seals of the commissioners of the ‘High Court of Justice’<\/span><\/p>\n

                                                                                                    Restoration<\/span><\/p>\n

                                                                                                    \u00ad King Charles II comes to power (1660-1685)<\/span><\/p>\n

                                                                                                    CHARLES II: THE MERRY<\/span><\/p>\n

                                                                                                    MONARCH<\/span><\/p>\n

                                                                                                    Loves theatre + entertainment<\/span><\/p>\n

                                                                                                    \u00ad\u2026 and sex<\/span><\/p>\n

                                                                                                    \u00adRestoration becomes know for<\/span><\/p>\n

                                                                                                    raucous, fun, partying, etc.<\/span><\/p>\n

                                                                                                    \u00adSee Historical Wife Swap<\/span><\/p>\n

                                                                                                    Engraving of King Charles II and Queen Catherine<\/span><\/p>\n

                                                                                                    signed “F. H. van HOVEN” – Frederik Hendrik Van den<\/span><\/p>\n

                                                                                                    Hove (c. 1630-171?). Party hat not included.<\/span><\/p>\n

                                                                                                    CHARLES II: THE MERRY<\/span><\/p>\n

                                                                                                    MONARCH<\/span><\/p>\n

                                                                                                    \u00adEstablishes two theatres with royal<\/span><\/p>\n

                                                                                                    patents, much like Elizabeth I did<\/span><\/p>\n

                                                                                                    when she set up the system of<\/span><\/p>\n

                                                                                                    licensed actor troupes<\/span><\/p>\n

                                                                                                    \u00adessentially creates a dual monopoly:<\/span><\/p>\n

                                                                                                    only these two theatres are legally<\/span><\/p>\n

                                                                                                    permitted to operate, they have state<\/span><\/p>\n

                                                                                                    support to do so<\/span><\/p>\n

                                                                                                    Engraving of King Charles II and Queen Catherine<\/span><\/p>\n

                                                                                                    signed “F. H. van HOVEN” – Frederik Hendrik Van den<\/span><\/p>\n

                                                                                                    Hove (c. 1630-171?). Party hat not included.<\/span><\/p>\n

                                                                                                    The King\u2019s Men<\/span><\/p>\n

                                                                                                    \u2022 Thomas Killigrew<\/span><\/p>\n

                                                                                                    \u2022 Start in former<\/span><\/p>\n

                                                                                                    tennis court<\/span><\/p>\n

                                                                                                    \u2022 Build Theatre<\/span><\/p>\n

                                                                                                    Royal, Drury Lane<\/span><\/p>\n

                                                                                                    \u2022 Focus on replicating<\/span><\/p>\n

                                                                                                    pre-restoration<\/span><\/p>\n

                                                                                                    theatre with<\/span><\/p>\n

                                                                                                    experienced actors<\/span><\/p>\n

                                                                                                    The Duke\u2019s Men<\/span><\/p>\n

                                                                                                    \u2022 William<\/span><\/p>\n

                                                                                                    Davenant<\/span><\/p>\n

                                                                                                    \u2022 Renovate Lisle\u2019s<\/span><\/p>\n

                                                                                                    Tennis Court in<\/span><\/p>\n

                                                                                                    Lincoln\u2019s Inn Fields<\/span><\/p>\n

                                                                                                    \u2013 1st moveable<\/span><\/p>\n

                                                                                                    scenery<\/span><\/p>\n

                                                                                                    \u2022 All about<\/span><\/p>\n

                                                                                                    spectacle and<\/span><\/p>\n

                                                                                                    had to<\/span><\/p>\n

                                                                                                    experiment with<\/span><\/p>\n

                                                                                                    new forms due to<\/span><\/p>\n

                                                                                                    Which do you think was more popular? play divvying up<\/span><\/p>\n

                                                                                                    Portrait of Thomas Killigrew by<\/span><\/p>\n

                                                                                                    Anthony van Dyck 1635<\/span><\/p>\n

                                                                                                    Engraving of William Davenant<\/span><\/p>\n

                                                                                                    The Duke\u2019s Men!<\/span><\/p>\n

                                                                                                    \u00adIt seems people were actually not as interested in<\/span><\/p>\n

                                                                                                    returning to previous forms of performance and instead<\/span><\/p>\n

                                                                                                    wanted something new<\/span><\/p>\n

                                                                                                    \u00ad\u2026 what has happened post-Covid?<\/span><\/p>\n

                                                                                                    Interestingly, when public taste starts to wane in the<\/span><\/p>\n

                                                                                                    1680s, the two companies combine to form the<\/span><\/p>\n

                                                                                                    United Company.<\/span><\/p>\n

                                                                                                    THE MERRY MONARCH:<\/span><\/p>\n

                                                                                                    KING CHARLES II<\/span><\/p>\n

                                                                                                    While in exile overseas, he enjoyed<\/span><\/p>\n

                                                                                                    female performers, and so he said<\/span><\/p>\n

                                                                                                    women should be professional<\/span><\/p>\n

                                                                                                    actors: we get women on stage in<\/span><\/p>\n

                                                                                                    England<\/span><\/p>\n

                                                                                                    Is this progressive or regressive?<\/span><\/p>\n

                                                                                                    He maybe liked them too much\u2026<\/span><\/p>\n

                                                                                                    NELL GWYNN 1650??-1687<\/span><\/p>\n

                                                                                                    \u00adLikely the daughter of a<\/span><\/p>\n

                                                                                                    \u201cmadam\u201d who ran a brothel;<\/span><\/p>\n

                                                                                                    possibly a sex-worker herself?<\/span><\/p>\n

                                                                                                    \u00adKilligrew opens Drury Lane,<\/span><\/p>\n

                                                                                                    Nell hired as \u201corange girl\u201d<\/span><\/p>\n

                                                                                                    Portrait of Nell Gwynn by Peter Lely<\/span><\/p>\n

                                                                                                    NELL GWYNN 1650??-1687<\/span><\/p>\n

                                                                                                    \u00ad1 year later becomes an actress<\/span><\/p>\n

                                                                                                    in the King’s Company, taught to<\/span><\/p>\n

                                                                                                    act by Charles Hart<\/span><\/p>\n

                                                                                                    \u00adBy 1665 prominent actress, known<\/span><\/p>\n

                                                                                                    for her wit and comedic ability<\/span><\/p>\n

                                                                                                    \u00ad famously referred to as “pretty<\/span><\/p>\n

                                                                                                    witty Nell” by Samuel Pepys<\/span><\/p>\n

                                                                                                    Portrait of Nell Gwynn by Peter Lely<\/span><\/p>\n

                                                                                                    NELL GWYNN 1650??-1687<\/span><\/p>\n

                                                                                                    \u00ad… By 1668 she is one of the<\/span><\/p>\n

                                                                                                    King\u2019s mistresses. They meet after<\/span><\/p>\n

                                                                                                    they both attend a performance<\/span><\/p>\n

                                                                                                    in 1668. Nell has at least two<\/span><\/p>\n

                                                                                                    children by him and we think they<\/span><\/p>\n

                                                                                                    were very close: he provides for<\/span><\/p>\n

                                                                                                    her to her death<\/span><\/p>\n

                                                                                                    Portrait of Nell Gwynn by Peter Lely<\/span><\/p>\n

                                                                                                    NELL GWYNN<\/span><\/p>\n

                                                                                                    \u00adWild stories of her life:<\/span><\/p>\n

                                                                                                    nicknames, laxatives, syphilis,<\/span><\/p>\n

                                                                                                    Charles III In 2015, a new play called Nell Gwynn premiered at Shakespeare’s<\/span><\/p>\n

                                                                                                    Globe by Jessica Swale, starring Gugu Mbatha-Raw as Nell.<\/span><\/p>\n

                                                                                                    RESTORATION PERFORMERS<\/span><\/p>\n

                                                                                                    Charles Hart<\/span><\/p>\n

                                                                                                    \u00adBefore restoration he plays women, after highly<\/span><\/p>\n

                                                                                                    masculine leading man<\/span><\/p>\n

                                                                                                    \u00adOften paired with Nell Gwynn (aside form<\/span><\/p>\n

                                                                                                    being acting teacher) and they have publicized<\/span><\/p>\n

                                                                                                    affair<\/span><\/p>\n

                                                                                                    RESTORATION PERFORMERS<\/span><\/p>\n

                                                                                                    Ned Kynaston<\/span><\/p>\n

                                                                                                    \u00adLast actor to play female roles: last female<\/span><\/p>\n

                                                                                                    role 1661, last role 1699<\/span><\/p>\n

                                                                                                    \u00adAccording to Samuel Pepys, “the loveliest lady<\/span><\/p>\n

                                                                                                    that I ever saw in my life” even if “her voice<\/span><\/p>\n

                                                                                                    not very good” (August 18 1660)<\/span><\/p>\n

                                                                                                    \u00adThere were also rumours about his gender<\/span><\/p>\n

                                                                                                    identity and sexuality; apparently he would<\/span><\/p>\n

                                                                                                    go out in his theatrical garb (aka dressed as a<\/span><\/p>\n

                                                                                                    woman) and there is gossip about a possible<\/span><\/p>\n

                                                                                                    affair with George Villiers, a duke<\/span><\/p>\n

                                                                                                    RESTORATION PERFORMERS<\/span><\/p>\n

                                                                                                    Thomas Betterton<\/span><\/p>\n

                                                                                                    \u00adhighly popular actor and theatre manager<\/span><\/p>\n

                                                                                                    \u00adtook over the Duke’s Company after<\/span><\/p>\n

                                                                                                    William Davenant dies<\/span><\/p>\n

                                                                                                    \u00adinventive and resourceful, inventing new<\/span><\/p>\n

                                                                                                    stage machinery, writing operas, etc.<\/span><\/p>\n

                                                                                                    RESTORATION PERFORMERS<\/span><\/p>\n

                                                                                                    Thomas Betterton<\/span><\/p>\n

                                                                                                    \u00adwrote the first English guide to acting and<\/span><\/p>\n

                                                                                                    played many Shakespeare roles<\/span><\/p>\n

                                                                                                    \u00adOnce he performed a role, it became part of his<\/span><\/p>\n

                                                                                                    ‘repertoire’ and he continued to play it (e.g. v. old<\/span><\/p>\n

                                                                                                    Hamlet)<\/span><\/p>\n

                                                                                                    \u00adHe and wife, also a performer = power couple,<\/span><\/p>\n

                                                                                                    even despite acting as disreputable<\/span><\/p>\n

                                                                                                    Colley Cibber<\/span><\/p>\n

                                                                                                    known for playing “fops”: foolish, effeminate<\/span><\/p>\n

                                                                                                    aristocrats<\/span><\/p>\n

                                                                                                    he wanted to perform in serious drama too,<\/span><\/p>\n

                                                                                                    but was apparently terrible at it<\/span><\/p>\n

                                                                                                    kind of over-the-top exaggerated manner<\/span><\/p>\n

                                                                                                    and liked to improvise and ad-lib<\/span><\/p>\n

                                                                                                    RESTORATION PERFORMERS + BREECHES ROLES<\/span><\/p>\n

                                                                                                    Imagine… its 1660 and the theatres have just reopened<\/span><\/p>\n

                                                                                                    after the Interregnum. Charles II is letting ladies on the<\/span><\/p>\n

                                                                                                    stage!<\/span><\/p>\n

                                                                                                    \u00adCutting edge, super exciting to see real women playing women<\/span><\/p>\n

                                                                                                    BUT even better was seeing\u2026. Women play men!<\/span><\/p>\n

                                                                                                    WHY?<\/span><\/p>\n

                                                                                                    RESTORATION PERFORMERS + BREECHES ROLES<\/span><\/p>\n

                                                                                                    BREECHES ROLES<\/span><\/p>\n

                                                                                                    In theatre and opera, a breeches role is<\/span><\/p>\n

                                                                                                    one in which a female-identified<\/span><\/p>\n

                                                                                                    performer appears onstage in male<\/span><\/p>\n

                                                                                                    clothing.<\/span><\/p>\n

                                                                                                    Breeches are tight, form-fitting pants<\/span><\/p>\n

                                                                                                    (usually for riding horses) that were<\/span><\/p>\n

                                                                                                    typical male clothing in the 17th century.<\/span><\/p>\n

                                                                                                    While the term continues to be used in<\/span><\/p>\n

                                                                                                    opera to refer to operas that involve a<\/span><\/p>\n

                                                                                                    male character sung and acted by a<\/span><\/p>\n

                                                                                                    female singer, it has a more specific<\/span><\/p>\n

                                                                                                    historical usage in theatre. An Actress at Her Toilet, or Miss Brazen Just Breecht (John Collet, 1779)<\/span><\/p>\n

                                                                                                    ANNE BRACEGIRDLE<\/span><\/p>\n

                                                                                                    adopted by Thomas Betterton<\/span><\/p>\n

                                                                                                    and so grew up in the theatre<\/span><\/p>\n

                                                                                                    known for breeches roles<\/span><\/p>\n

                                                                                                    admired for radiance,<\/span><\/p>\n

                                                                                                    desirability, and had many<\/span><\/p>\n

                                                                                                    parts written specifically for<\/span><\/p>\n

                                                                                                    her<\/span><\/p>\n

                                                                                                    Apparently Colley Cibber was obsessed with her and desperately<\/span><\/p>\n

                                                                                                    wanted to play her lover in a production (it never happened).<\/span><\/p>\n

                                                                                                    In his autobiography he writes, “She had no greater Claim to Beauty<\/span><\/p>\n

                                                                                                    than what the most desirable Brunette might pretend to. But her Youth<\/span><\/p>\n

                                                                                                    and lively Aspect threw out such a Glow of Health and Chearfulness,<\/span><\/p>\n

                                                                                                    that on the Stage few Spectators that were not past it could behold her<\/span><\/p>\n

                                                                                                    without Desire. It was even a Fashion among the Gay and Young to have<\/span><\/p>\n

                                                                                                    a Taste or Tendre for Mrs. Bracegirdle.” (From The Garrick Club)<\/span><\/p>\n

                                                                                                    Another primary source from the time from Anthony Aston writing in<\/span><\/p>\n

                                                                                                    1748 says she was “of a lovely Height, with dark-brown Hair and Eye- brows, black sparkling Eyes, and a fresh blushy Complexion; and,<\/span><\/p>\n

                                                                                                    whenever she exerted herself, had an involuntary Flushing in her Breast,<\/span><\/p>\n

                                                                                                    Neck and Face, having continually a chearful Aspect, and a fine Set of<\/span><\/p>\n

                                                                                                    even white Teeth.”<\/span><\/p>\n

                                                                                                    ANNE OLDFIELD<\/span><\/p>\n

                                                                                                    \u2022 reported to be the “best<\/span><\/p>\n

                                                                                                    actress” of her time and<\/span><\/p>\n

                                                                                                    eventually pushes Bracegirdle<\/span><\/p>\n

                                                                                                    out: there were intense rivalries<\/span><\/p>\n

                                                                                                    at the time amongst performers<\/span><\/p>\n

                                                                                                    \u2022 known for her roles in polite<\/span><\/p>\n

                                                                                                    comedy and for being very<\/span><\/p>\n

                                                                                                    beautiful, but also a capable<\/span><\/p>\n

                                                                                                    businesswoman who negotiated<\/span><\/p>\n

                                                                                                    to become the highest paid<\/span><\/p>\n

                                                                                                    actress at the time<\/span><\/p>\n

                                                                                                    ELIZABETH BARRY<\/span><\/p>\n

                                                                                                    \u2022 “The ugliest woman in the world off<\/span><\/p>\n

                                                                                                    stage” but “the finest woman in the<\/span><\/p>\n

                                                                                                    world upon the stage” according to A<\/span><\/p>\n

                                                                                                    Comparison Between the Two<\/span><\/p>\n

                                                                                                    Stages from 1702<\/span><\/p>\n

                                                                                                    \u2022 known for the beauty of her voice and<\/span><\/p>\n

                                                                                                    oration abilities<\/span><\/p>\n

                                                                                                    famous for her tragic roles and ability<\/span><\/p>\n

                                                                                                    to quickly shift from emotion to emotion<\/span><\/p>\n

                                                                                                    convincingly<\/span><\/p>\n

                                                                                                    ACTING IN RESTORATION ENGLAND?<\/span><\/p>\n

                                                                                                    Given the information that we have about actors at the time, what<\/span><\/p>\n

                                                                                                    conclusions can we suggest?<\/span><\/p>\n

                                                                                                    Well, let’s start with the question of what gets recorded?<\/span><\/p>\n

                                                                                                    Looks<\/span><\/p>\n

                                                                                                    Voice and oration abilities<\/span><\/p>\n

                                                                                                    What about other details?<\/span><\/p>\n

                                                                                                    Not big into realism (Betterton plays the same roles over and over..<\/span><\/p>\n

                                                                                                    even as he ages out and becomes an old man playing young Hamlet)<\/span><\/p>\n

                                                                                                    The start of celebrity, including roles written specifically to showcase<\/span><\/p>\n

                                                                                                    certain performers<\/span><\/p>\n

                                                                                                     <\/span><\/p>\n

                                                                                                     <\/span><\/p>\n

                                                                                                    “Art is something that lies in the slender margin between the real and the unreal.” \u2014 Chikamatsu Monzaemon cited in Naniwa Miyage by Hozumi Ikan (1738)<\/span><\/p>\n


                                                                                                    <\/p>\n

                                                                                                    ENGLISH RESTORATION THEATRE Week 17<\/span><\/p>\n

                                                                                                    REMINDERS<\/span><\/p>\n

                                                                                                    \u2022 Any questions about upcoming work?<\/span><\/p>\n

                                                                                                    \u2022 Take notice of one thing you\u2019re doing really well and one thing<\/span><\/p>\n

                                                                                                    you\u2019re grateful for<\/span><\/p>\n

                                                                                                    \u2022 Courses for next year<\/span><\/p>\n

                                                                                                    \u2022 Cromwell\u2019s son; fine for attending theatre (Bawcutt 2009)<\/span><\/p>\n

                                                                                                    RESTORATION PERFORMERS + BREECHES ROLES<\/span><\/p>\n

                                                                                                    Imagine… its 1660 and the theatres have just reopened<\/span><\/p>\n

                                                                                                    after the Interregnum. Charles II is letting ladies on the<\/span><\/p>\n

                                                                                                    stage!<\/span><\/p>\n

                                                                                                    \u00adCutting edge, super exciting to see real women playing women<\/span><\/p>\n

                                                                                                    BUT even better was seeing\u2026. Women play men!<\/span><\/p>\n

                                                                                                    WHY?<\/span><\/p>\n

                                                                                                    RESTORATION PERFORMERS + BREECHES ROLES<\/span><\/p>\n

                                                                                                    BREECHES ROLES<\/span><\/p>\n

                                                                                                    In theatre and opera, a breeches role is<\/span><\/p>\n

                                                                                                    one in which a female-identified<\/span><\/p>\n

                                                                                                    performer appears onstage in male<\/span><\/p>\n

                                                                                                    clothing. Breeches are tight, form-fitting<\/span><\/p>\n

                                                                                                    pants (usually for riding horses) that<\/span><\/p>\n

                                                                                                    were typical male clothing in the 17th<\/span><\/p>\n

                                                                                                    century.<\/span><\/p>\n

                                                                                                    While the term continues to be used in<\/span><\/p>\n

                                                                                                    opera to refer to operas that involve a<\/span><\/p>\n

                                                                                                    male character sung and acted by a<\/span><\/p>\n

                                                                                                    female singer, it has a more specific<\/span><\/p>\n

                                                                                                    historical usage in theatre. An Actress at Her Toilet, or Miss Brazen Just Breecht (John Collet, 1779)<\/span><\/p>\n

                                                                                                    ACTING IN RESTORATION ENGLAND?<\/span><\/p>\n

                                                                                                    Given the information that we have about actors at the time, what<\/span><\/p>\n

                                                                                                    conclusions can we suggest?<\/span><\/p>\n

                                                                                                    Well, let’s start with the question of what gets recorded?<\/span><\/p>\n

                                                                                                    Looks<\/span><\/p>\n

                                                                                                    Voice and oration abilities<\/span><\/p>\n

                                                                                                    What about other details?<\/span><\/p>\n

                                                                                                    Not big into realism (Betterton plays the same roles over and over..<\/span><\/p>\n

                                                                                                    even as he ages out and becomes an old man playing young Hamlet)<\/span><\/p>\n

                                                                                                    The start of celebrity, including roles written specifically to showcase<\/span><\/p>\n

                                                                                                    certain performers<\/span><\/p>\n

                                                                                                    NAHUM TATE: PLAYWRIGHT<\/span><\/p>\n

                                                                                                    Shakespeare needs some<\/span><\/p>\n

                                                                                                    editing<\/span><\/p>\n

                                                                                                    How does context shape art?<\/span><\/p>\n

                                                                                                    And does\/should artistic<\/span><\/p>\n

                                                                                                    output respond to audience<\/span><\/p>\n

                                                                                                    taste and demand?<\/span><\/p>\n

                                                                                                    \u2026 what makes good theatre?<\/span><\/p>\n

                                                                                                    NAHUM TATE: PLAYWRIGHT<\/span><\/p>\n

                                                                                                    i.e. The History of King Lear<\/span><\/p>\n

                                                                                                    \u00ad Cordelia lives!<\/span><\/p>\n

                                                                                                    \u00ad Cordelia marries Edgar!<\/span><\/p>\n

                                                                                                    \u00ad Edgar declares: truth and virtue shall at last succeed!<\/span><\/p>\n

                                                                                                    This version “supplanted Shakespeare’s play in every<\/span><\/p>\n

                                                                                                    performance given from 1681 to 1838,” and was “one of the<\/span><\/p>\n

                                                                                                    longest-lasting successes of the English drama.\u201d<\/span><\/p>\n

                                                                                                    (Stanley Wells, \u201cIntroduction\u201d King Lear Oxford Edition)<\/span><\/p>\n

                                                                                                    Can you think of any examples of re-tellings that have been<\/span><\/p>\n

                                                                                                    altered to suit new contexts?<\/span><\/p>\n

                                                                                                    APHRA BEHN: PLAYWRIGHT<\/span><\/p>\n

                                                                                                    APHRA BEHN: PLAYWRIGHT<\/span><\/p>\n

                                                                                                    \u20221st woman in England to earn her<\/span><\/p>\n

                                                                                                    living as a writer \u201cprofessional<\/span><\/p>\n

                                                                                                    writer\u201d<\/span><\/p>\n

                                                                                                    \u2022 Wrote several plays (at least 19)<\/span><\/p>\n

                                                                                                    during the Restoration period,<\/span><\/p>\n

                                                                                                    featuring women as central<\/span><\/p>\n

                                                                                                    characters on topics like arranged<\/span><\/p>\n

                                                                                                    marriage, colonial oppression,<\/span><\/p>\n

                                                                                                    women\u2019s rights<\/span><\/p>\n

                                                                                                    Portrait of Aphra Behn by Peter Lely 1670<\/span><\/p>\n

                                                                                                    APHRA BEHN: PLAYWRIGHT<\/span><\/p>\n

                                                                                                    \u2022The Rover according to the British Library, “features powerful female<\/span><\/p>\n

                                                                                                    characters who argue wittily for their rights. In the play, two women battle<\/span><\/p>\n

                                                                                                    for the affections of the cavalier Willmore. One is the sparky Hellena,<\/span><\/p>\n

                                                                                                    who declares that she would rather become a nun than be forced into<\/span><\/p>\n

                                                                                                    marriage with a man she does not love; the other is the sex worker<\/span><\/p>\n

                                                                                                    Angellica Bianca. In their struggle, Hellena and Angellica must also fight<\/span><\/p>\n

                                                                                                    against the limitations of sex and social class. The play, which is set in<\/span><\/p>\n

                                                                                                    Naples amidst a licentious society of exiled libertines and Spanish<\/span><\/p>\n

                                                                                                    noblemen, is strikingly modern in its frank discussion of gender roles and<\/span><\/p>\n

                                                                                                    pleas for sexual freedom.”<\/span><\/p>\n

                                                                                                    AGENT 160\/ASTREA<\/span><\/p>\n

                                                                                                    She wrote novels, poetry, and translations,<\/span><\/p>\n

                                                                                                    but also served as a spy for Charles II, and<\/span><\/p>\n

                                                                                                    spent time in debtor\u2019s prison.<\/span><\/p>\n

                                                                                                    \u201cpalimpsest: she has scratched herself out\u201d<\/span><\/p>\n

                                                                                                    Germaine Greer<\/span><\/p>\n

                                                                                                    \u201clethal combination of obscurity, secrecy<\/span><\/p>\n

                                                                                                    and staginess which makes her an uneasy<\/span><\/p>\n

                                                                                                    fit for any narrative, speculative or factual.<\/span><\/p>\n

                                                                                                    She is not so much a woman to be<\/span><\/p>\n

                                                                                                    unmasked as an unending combination of<\/span><\/p>\n

                                                                                                    masks\u201d Janet Todd Portrait of Aphra Behn by Peter Lely 1670<\/span><\/p>\n

                                                                                                    RESTORATION<\/span><\/p>\n

                                                                                                    COMEDY<\/span><\/p>\n

                                                                                                    Witty, sexy, smutty, upper class<\/span><\/p>\n

                                                                                                    people looking for love (usually<\/span><\/p>\n

                                                                                                    via adultery)<\/span><\/p>\n

                                                                                                    Distrust of conventional morality<\/span><\/p>\n

                                                                                                    (i.e. the Puritans failed)<\/span><\/p>\n

                                                                                                    Marriage is not a happy ending:<\/span><\/p>\n

                                                                                                    skeptical of love, honor, fidelity<\/span><\/p>\n

                                                                                                    THE COUNTRY WIFE BY WILLIAM WYCHERLEY\u2019S 1675<\/span><\/p>\n

                                                                                                    Harry Horner tells everyone he is impotent with the help of his \u201cdoctor\u201d Quack. He<\/span><\/p>\n

                                                                                                    does this so that husbands will leave their wives with him, assuming he has no<\/span><\/p>\n

                                                                                                    interest in sex.<\/span><\/p>\n

                                                                                                    Pinchwife marries a young na\u00efve girl Margery but is so paranoid about her being<\/span><\/p>\n

                                                                                                    faithful he won\u2019t let her leave the house and keeps her in the country. Margery<\/span><\/p>\n

                                                                                                    eventually manages to meet Horner after dressing up as a man and she becomes<\/span><\/p>\n

                                                                                                    very interested in sex and him, despite her husband\u2019s best attempts to keep her<\/span><\/p>\n

                                                                                                    away from corrupting influences.<\/span><\/p>\n

                                                                                                    The third plot point concerns Harcourt and Alithea. Alithea is betrothed to foppish<\/span><\/p>\n

                                                                                                    Sparkish and forgives his many, many faults. She accidentally ends up in a<\/span><\/p>\n

                                                                                                    compromising position with Horner and Sparkish eventually dumps her. Harcourt<\/span><\/p>\n

                                                                                                    believes her to be virtuous and they fall in love.<\/span><\/p>\n

                                                                                                    Horner sleeps with everyone. Weird metaphors about china. <\/span><\/p>\n

                                                                                                    THE COUNTRY WIFE BY WILLIAM WYCHERLEY\u2019S 1675<\/span><\/p>\n

                                                                                                    THE CHINA SCENE<\/span><\/p>\n

                                                                                                    RESTORATION COMEDY<\/span><\/p>\n

                                                                                                    \u00adInsight into historical context<\/span><\/p>\n

                                                                                                    \u00adInsight into performance techniques<\/span><\/p>\n

                                                                                                    Position of Women<\/span><\/p>\n

                                                                                                    \u00adBreeches roles<\/span><\/p>\n

                                                                                                    SAMUEL PEPYS<\/span><\/p>\n

                                                                                                    He is a really, really honest diarist<\/span><\/p>\n

                                                                                                    Historical does not mean formal\/un<\/span><\/p>\n

                                                                                                    –<\/span><\/p>\n

                                                                                                    human\/infallible<\/span><\/p>\n

                                                                                                    \u2013 resist the urge to<\/span><\/p>\n

                                                                                                    treat history as something precious<\/span><\/p>\n

                                                                                                    And also a very, very sexually<\/span><\/p>\n

                                                                                                    voracious man (think of his model)<\/span><\/p>\n

                                                                                                    He writes \u201cin code\u201d:<\/span><\/p>\n

                                                                                                    Spanish\/French\/Italian<\/span><\/p>\n

                                                                                                    By John Hayls 1666<\/span><\/p>\n

                                                                                                    <\/span>
                                                                                                    <\/p>\n

                                                                                                     <\/span><\/span>
                                                                                                    <\/span><\/p>\n

                                                                                                    <\/span>
                                                                                                    <\/div>\n","protected":false},"excerpt":{"rendered":"

                                                                                                    Purpose The purpose of this assignment is to develop your communication skills and create a scholarly response to a class question or dilemma. I encourage you to think \u201cHere\u2019s what in theatre history can speak to us\u201d OR, \u201cHere\u2019s something in my own background or a background that interests me, about theatre histories, how stories […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","template":"","meta":[],"disciplines":[42],"paper_types":[],"tagged":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/questions\/20053"}],"collection":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/questions"}],"about":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/types\/questions"}],"author":[{"embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/comments?post=20053"}],"version-history":[{"count":0,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/questions\/20053\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/media?parent=20053"}],"wp:term":[{"taxonomy":"disciplines","embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/disciplines?post=20053"},{"taxonomy":"paper_types","embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/paper_types?post=20053"},{"taxonomy":"tagged","embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/tagged?post=20053"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}