Are There Trans Characters in Shakespeare? Transposing Gender through Performativity
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There are certainly non-binary actors on stage today and boy actors in early modern times, but are there Shakespearean characters who can be interpreted as trans? To ask whether there are trans characters is to ask ontological questions about gender as representational practice and about evolving notions of gender as assemblage. Building on Deleuze and Guattari’s notion of interdependent social actions as an assemblage and Jaspir Puar’s theory of gender as fluid association of material and social conditions, I develop a theory of trans performativity and trans assemblage. This article uses the theory to examine explicit and implicit transness of Shakespearean characters and to launch trans-inclusive interpretations of Twelfth Night and its film adaptations. It deploys trans as both an umbrella term and a transitive verb requiring a direct object. Trans is distinct from queer as a verb. I argue that transness is pervasive in all cis and trans performances beyond queer theory’s broad critique of heterosexuality.
Abstract
There are certainly non-binary actors on stage today and boy actors in early modern times, but are there Shakespearean characters who can be interpreted as trans? To ask whether there are trans characters is to ask ontological questions about gender as representational practice and about evolving notions of gender as assemblage. Building on Deleuze and Guattari’s notion of interdependent social actions as an assemblage and Jaspir Puar’s theory of gender as fluid association of material and social conditions, I develop a theory of trans performativity and trans assemblage. This article uses the theory to examine explicit and implicit transness of Shakespearean characters and to launch trans-inclusive interpretations of Twelfth Night and its film adaptations. It deploys trans as both an umbrella term and a transitive verb requiring a direct object. Trans is distinct from queer as a verb. I argue that transness is pervasive in all cis and trans performances beyond queer theory’s broad critique of heterosexuality.
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