Last edited by Gomi
Thursday, November 5, 2020 | History

6 edition of Gender in Play on the Shakespearean Stage found in the catalog.

Gender in Play on the Shakespearean Stage

Boy Heroines and Female Pages

by Michael Shapiro

  • 105 Want to read
  • 24 Currently reading

Published by University of Michigan Press .
Written in English

    Subjects:
  • Gender studies,
  • Shakespeare studies & criticism,
  • Literary Criticism,
  • Shakespeare, William, 1564-1616,
  • Theater,
  • English,
  • 17th century,
  • Dramatic production,
  • Shakespeare, William,
  • Social Science / Gender Studies,
  • Stage history,
  • To 1625,
  • Women,
  • Casting,
  • 16th century,
  • Child actors,
  • England,
  • History

  • The Physical Object
    FormatHardcover
    Number of Pages296
    ID Numbers
    Open LibraryOL7633789M
    ISBN 100472105671
    ISBN 109780472105670

    Shakespeare "Cymbeline and the Sonnets "considers these questions through case studies of two texts that appeared in about Cymbeline as a play on the London stage, Shakespeare's Sonnets as a Quarto volume. Class, Critics, and Shakespeare is a provocative contribution to "the culture wars." It engages with an ongoing debate about literary canons, the democratization of literary study, and of higher education in general. For a generation at least, academic readings of literary works, including those of.


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Gender in Play on the Shakespearean Stage by Michael Shapiro Download PDF EPUB FB2

A vital addition to the growing body of literature, this book is the most in-depth and historically contextual study to date of Shakespeare's uses of the heroine in male disguise--man-playing-woman-playing-man--in all its theatrical and social by:   Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages.

Cross-dressing, sexual identity, and the performance of gender are among the most hotly discussed topics in contemporary cultural studies/5(8).

Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages. Cross-dressing, sexual identity, and the performance of gender are among the most hotly discussed topics in contemporary cultural studies. Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages Michael Shapiro Gender in Play on the Shakespearean Stage book, sexual identity, and the performance of gender are among the most hotly discussed topics in contemporary cultural studies.

Gender in Play on the Shakespearean Stage will appeal not only to scholars of Renaissance drama but to any reader interested in the historical construction and analysis of gender and sexuality, both on-and offstage/5(8). A vital addition to the growing body of literature, this book is the most in-depth and historically contextual study to date of Shakespeare's uses of the heroine in male disguise—man-playing-woman-playing-man—in all its theatrical and social complexity.

Cross-dressing, sexual identity, and the performance of gender are among the most hotly discussed topics in contemporary cultural studies. A vital addition to the growing body of literature, this book is the most in-depth and historically contextual study to date of Shakespeare's uses of the heroine in male disguise--man-playing-woman-playing-man--in all its theatrical and soci.

During the time of Shakespeare and the reigns of Queen Elizabeth I and King James I, English ideas of sex and gender, the legal rights of women and the social expectations of femininity all played a significant role in the way that theatre was performed, the stories it told and who told them.

Shakespeare wrote most of his plays during the reign of Queen Elizabeth ( – ), who allowed theater and drama to flourish, but forbade the subject of politics or religion on stage.

By blurring the lines between sexuality and gender in his plays, Shakespeare deconstructs these norms to display their ambiguity. Masculine men can play effeminate female roles (which they did on stage) and effeminate women can play masculine male roles. As She Likes It: Gender in Play on the Shakespearean Stage book Unruly Women.

Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages. Social Shakespeare: Aspects of Renaissance Dramaturgy and Contemporary Society.

Shakespeare and Gender: A History. Reading the Renaissance: Culture, Poetics, and Drama. Both Michael Shapiro's Gender in Play on the Shakespearean Stage and Penny Gay's As She Likes It: Shakespeare's Unruly Women dispute one of the central premises of that work - the assumption that cross-gender disguise is a privileged site of subversion; but they do so in radically different ways.

Cross-dressing, sexual identity, and the performance of gender are among the most hotly discussed topics in contemporary cultural studies. A vital addition to the growing body of literature, this book is the most in-depth and historically contextual study to date of Shakespeare's uses of the heroine in male disguise--man-playing-woman-playing-man--in all its theatrical and social :   Shapiro, M., Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages, Michigan University Press, Smith, Nicole.

'An Analysis of Shakespeare’s Women'. Clare McManus explores gender in the history of Shakespeare performance. In Shakespeare's day, female parts were played by male actors, while more recently, actresses have taken on some of his most famous male roles such as Hamlet and Julius Caesar.

Gender in play on the Shakespearean stage. Ann Arbor: University of Michigan Press,© (OCoLC) Named Person: William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare: Document Type: Book: All Authors / Contributors: Michael Shapiro.

Essays and criticism on William Shakespeare - Rethinking Gender and Genre in the History Play How to Stage a Shakespearean Play for High School Students in 10 Easy Steps will. Michael Shapiro. Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages.

Ann Arbor: University of Michigan Press, Pp. viii + Author: Ralph Berry. William Shakespeare - William Shakespeare - Feminist criticism and gender studies: Feminist and gender-study approaches to Shakespeare criticism made significant gains after Feminists, like New Historicists, were interested in contextualizing Shakespeare’s writings rather than subjecting them to ahistorical formalist analysis.

Turning to anthropologists such as Claude Lévi-Strauss. Gender in play on the Shakespearean stage. Ann Arbor: University of Michigan Press, © (OCoLC) Named Person: William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare: Document Type: Book.

Gender in Play on the Shakespearean Stage will appeal not only to scholars of Renaissance drama but to any reader interested in the historical construction and analysis of gender and sexuality, both on and offstage.

Michael Shapiro is Associate Professor of English, University of Illinois, Urbana. Return to New Books subject areas. 6 x 9, ca. Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages Shapiro Michael. Ann Arbor: University of Michigan Press, viii + pp.

$Author: Merry G. Perry. Critics note that the nature of gender identity in Shakespeare's plays is generally portrayed from the perspective of the male, and, as a result, women are almost invariably seen as archetypal figures. Paula S. Berggren () has explored Shakespeare's mythic and supernatural approach to women and finds.

Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages by Michael Shapiro (, Hardcover) Be the first to write a review About this product Pre-owned: lowest price. All the women players: cross-gender Shakespeare – in pictures Katie West as Ophelia and Maxine Peake as Hamlet at the Royal Exchange, Manchester.

The denouement of both plays allows closure for the Elizabethan audience by restoring the women to their rightful place, having passed from stage one to stage two of their restrictive existence.

The hiccup of their newfound social mobility, as a result of their gender swap, is overcome through marriage. The Shakespearean Stage, The Shakespearean Stage is the only authoritative book that describes all the main features of the original staging of Shakespearean drama in one volume: the acting companies and their acting styles, the playhouses, the staging and the audiences.5/5(2).

Gender Identity and Gender Performativity in Shakespeare’s Selected Plays: Macbeth, Hamlet and Merry Wives of Windsor. Her theory of performativity makes a valuable contribution to progressive democratic politics is, however, to make a claim likely to elicit puzzled looks.

Performativity is the ca-Author: Mehdi Amiri, Sara Khoshkam. Revisiting Shakespeare and Gender This merging of masculine and feminine in both males and females might help to explain how easy it was for the Elizabethan stage to employ and accept all male casts and utilize men to play strong female characters like Juliet, Lady Macbeth, Cleopatra, and Kate, the Shrew.

a teacher using Shakespeare's. Gender Politics in Staging Shakespeare From Gretchen McBeath, Oct. 25, I would enjoy your take on gender politics in art as discussed in The Wall Street Journal article from Saturday, Oct.

22, titled "Remember When Art Was Supposed to Be Beautiful: Contemporary Art Is Obsessed with the Politics of Race, Gender, and Sexuality.". Specifically, I thought you might discuss this particular. When Oscar Isaac plays Hamlet this summer, it’s difficult to imagine Shakespeare tsk-ing in his grave.

Yet for the most part, Broadway hasn’t taken this hint, despite the colossal success of Author: Alexis Soloski. Cross-dressing in Shakespeare’s plays is a common technique used to progress the plot. We take a look at the best female characters that dress as men: the top three cross-dressers in Shakespeare : Lee Jamieson.

When Shakespeare was writing his plays, he took gender roles into great consideration, and made sure to follow the guidelines of a man and woman’s roles (“Revisiting Shakespeare”). In Elizabethan times, the plays followed those guidelines by making the man always have power over the woman.

Shakespeare’s use of disguise could foster humour or a sense of impending doom, and as such, disguise is an incredibly powerful narrative technique: Conceal me what I am, and be my aid for such disguise as haply shall become the form of my intent.

(Twelfth Night, Act 1, Author: Lee Jamieson. One of Shakespeare’s most popular comic characters, Sir John Falstaff, arrived on the stage in history plays but was celebrated for his verbal dexterity. As he announces, ‘I am not only witty in myself, but the cause that wit is in other men’ (Henry IV, Part 2, –10).

1 Dympna Callaghan's book Shakespeare Without Women meditates at length on the fact that every single role on the Shakespearean stage was written for a white man. It asks us to consider the political and philosophical consequences of the physical absence and insistent representation of certain peoples on Shakespeare's stage, especially women Author: Ania Loomba.

Desiring to equate “stage love” with “true love,” Viola, the heroine of Shakespeare in Love, alludes to the corporeal conundrum that weaves through Shakespeare's “transvestite” comedies – Two Gentlemen of Verona, The Merchant of Venice, Twelfth Night, and As You Like It – where boy actors playing women cross-dress as men in dazzling doubles acts that offer up a spectrum of Cited by: 1.

The Theatricality of Transformation: cross -dressing and gender/sexuality spectra on the Elizabethan stage It has long been the fashion in feminist criticism on Shakespeare and contemporaries to assign staged cross -dressing a visible place wit hin the known patriarchal world.

How does Shakespeare play with gender roles in Macbeth. Lady Macbeth is the focus of much of the exploration of gender roles in Macbeth. As Lady Macbeth propels her husband toward murdering Duncan, she indicates that she must take on masculine characteristics.

usually figure in books about Shakespeare as a cultural icon or the origins of ―bardolatry,‖ and the Restoration‘s role in keeping the plays alive on stage while at the same time ―translating‖ or updating them for a new audience. Allam, Roger. "Mercutio in Romeo and Juliet."In Players of Shakespeare 2: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company, edited by Russell Jackson and Robert Smallwood, Cambridge and New York: Cambridge University Press, Alexander, Peter, ed.

Romeo and Juliet, by William : BBC; New York: Mayflower Books.And this is what Bill Bryson offers us with his book, Shakespeare The World as Stage.

Why If you wanted to know more about William Shakespeare, his life, his writings, his times etc, you would have to embark in the reading of an endless amount of written material that would fill trucks and trucks/5.These debates have paved the way for more actors of color not just to play Othello, but also to enter and thrive on the Shakespearean stage more generally.

These same debates have also led to a number of radical rewritings of Shakespeare’s play that critique its race and gender dynamics.