Re-Shaping the “Authentic” Body: Male Cross-Dressing in Tim Carroll’s Twelfth Night at the New Globe Theatre
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Tim Carroll’s Twelfth Night is one of the most successful productions that attracts the attention of audiences for its concept of “authentic” practices, particularly the traditional convention of an all-male cast. In the old Globe, due to the boy actors’ immature and effeminate body structure, their performance of femininity provokes the audience to imagine them as female characters. However, in Carroll’s production, as adult males take the female parts, the audience can easily distinguish the male actors’ body under the female dress. The incongruity between the markers of femininity and the male actors’ masculinity provokes the spectator to rethink of the previous concept of femininity and masculinity as well as the process of constructing particular gender images. At the same time, the audience learns how the historical artefacts of “authenticity” function to emphasise gender as a play. By playing with the gender ambiguity between the male actors and their female roles, the director encourages the modern audience to question the validity of gender and its performativity while exploring the theme of gender and sexuality in relation to social ideology toward femininity and masculinity. This article shows how the production leads the audience to have a dual conscious of gender identity of the male actors as female characters whose gender position is not fixed or stable but always changing. Also, this article explores how the female gender is constructed by the male actors, who display several female signifiers as multiple signs of sexuality, revealing the inherent absurdity of traditional gender roles performed in modern theatre.
Abstract
Tim Carroll’s Twelfth Night is one of the most successful productions that attracts the attention of audiences for its concept of “authentic” practices, particularly the traditional convention of an all-male cast. In the old Globe, due to the boy actors’ immature and effeminate body structure, their performance of femininity provokes the audience to imagine them as female characters. However, in Carroll’s production, as adult males take the female parts, the audience can easily distinguish the male actors’ body under the female dress. The incongruity between the markers of femininity and the male actors’ masculinity provokes the spectator to rethink of the previous concept of femininity and masculinity as well as the process of constructing particular gender images. At the same time, the audience learns how the historical artefacts of “authenticity” function to emphasise gender as a play. By playing with the gender ambiguity between the male actors and their female roles, the director encourages the modern audience to question the validity of gender and its performativity while exploring the theme of gender and sexuality in relation to social ideology toward femininity and masculinity. This article shows how the production leads the audience to have a dual conscious of gender identity of the male actors as female characters whose gender position is not fixed or stable but always changing. Also, this article explores how the female gender is constructed by the male actors, who display several female signifiers as multiple signs of sexuality, revealing the inherent absurdity of traditional gender roles performed in modern theatre.
참고문헌 (18)
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