After quantifying the love and the degree of passion a couple may exhibit, Anne Peplau, research

In Twelfth Night, Shakespeare contradicts vapid stereotypes about gender. Through Viola’s disguise as Cesario, he is able to prove that a woman is able to fulfill a man 's role in society. She is able to fool the other characters and is even able to woo another woman. This reinforces ideas about how invalid the rules and regulations society has made since Viola easily broke through them. Later on in the story, Sir Andrew challenges Viola to a duel. Viola expects Sir Andrew to be a great fighter, and he expects the same from her. This creates a comedic situation since they both are too afraid of each other to engage in the fight. (3.4, 223-298)

Many, if not all, plays are written to evoke thoughts from people in the audience. Through their scripts, authors deliver messages about their opinions on various issues ranging from gender roles to class ranks. These messages are developed to provoke thoughts and questions from people who experience performances. In the play Rome Sweet Rome, the Q Brothers Collective use both new and old theatrical techniques to make parallels between the Roman and United States governments by addressing issues involving women’s roles in society, class rank, and homosexuality. The play uses methods both similar and different to other classic plays to deliver a message that is relatable to issues in today’s world. This message is enhanced through the use of acting styles, set design, costumes, music, and lighting.

In Twelfth Night, the protagonist of the story, Viola, is displayed as a rational, sacrificial, sincere, strong, witty woman, who disguises herself as a man, to become a faithful attendant of Orsino. Viola is one with sacrificial and patient love, willingly loving Orsino, and attending to his every need. Orsino, on the other hand, is shown as an emotional man, who has superficial and transient love for Olivia. This love is very abruptly shifted to Viola at the end of the play, when Viola reveals her true identity. Through this contrast of these two individuals, we can see that Shakespeare makes a distinct different between genders, and allows to draw a contrast between characters to think deeper into their characters and purpose in the story, beyond their surface appearances.

1862 England (Victorian Era) was somewhat of an uptight society, especially compared to today. The majority of people, especially those in the upper class, were expected to be utmostly prim and proper and follow societal norms at all times. This included love, or what love was defined as during the period. George Meredith, in his poem aptly titled “Modern Love”, sets a scene where a husband and wife are sleeping side by side, both reflecting sorrowfully on their melancholy marriage. Meredith argues in this poem that the institution of modern love is inherently flawed, by exposing to the reader that while the husband and wife still care for each other, they want to leave each other because they are both scared of “modern love”. By doing so, Meredith is able to justify his overarching message that applies to all: love is a feeling that cannot be artificially replicated, and attempting to do so is only a detriment.

However, his statement “Thou say thou art a man.” (Act I, Scene V, line 30) Is short, blunt and definite, proving that he is in fact oblivious to her deception. This is yet another example of dramatic irony, as only the audience and Viola are aware of her true identity. This irony shows us that Orsino has been outsmarted by a female, straying from the traditional patriarchal views of women and consequentially reinforcing Dusinberre’s critique of the text. In our modern society, with this current new wave of feminism, this message is particularly relevant, and so would arguably have a greater impact on an audience than the shame felt from Twelfth Night would. If it is to have a greater effect, then it is superior to Shakespeare’s evocation of shame, and thus feeling ashamed cannot be the ultimate effect of Shakespeare’s Twelfth

Thrilling yet confusing, and even troublesome, Twelfth Night’s theme of identity is showed within the romantic comedy through many ways. As an essential subject establishing rich symbolism and imagery, it uses disguises and crafty characters’, which causes much confusion between the characters. Furthermore, the idea brings out the comical essence of the piece. It examines the gender roles in Twelfth Night relating to the history of Renaissance/Elizabethan Theatre; males played female roles—a male actor would play a female character (Viola) who disguises herself as a male (Cesario), for women were forbidden to act. Through What You Will, it proves one’s physical features, and how a person presents them self, possesses

Because this is Restorative Comedy, the acting needs to be light-hearted but enjoyable, the actors should embrace the explicit nature of the play and express a comedic comfort on acting on such a subject. The cast not in this scene will sit around the edge of the round of light, creating a smaller stage; they will act as the audience mimicking the reactions and emotions that are expected in order to create a more understanding atmosphere within the audience. The male actors who are playing female roles, only Angelica in this scene, are wearing a garment of female clothing from the props cupboard, a feather boa or a hat or jewellery – lipstick? The female actors playing male roles (Antonio, Page and Pedro) will have their hair tired up in a bun, if possible and wear the beige shirts found in the store cupboard over their black trousers and tops as well as the suit jackets that we will supply. This scene occurs during a Masquerade Ball so each actor should either be wearing or holding a mask. In this scene, the stereotypes of gender are accentuated and emphasized. This will be done through the use of body language, hand gestures and the manipulation of voice. The female actors will stand with their legs apart and the hips thrust slightly forward, when possible they will use large hand gestures when they speak. The voice should be in a lower register to usual, if this is possible, and should be projected so that the audience feels an air of authority. The male actors should try to talk quieter and be less dominant on the stage, they should use simple modest hand gestures and at times, when the play allows, should become

PPcorn is excited to bring you the new video from Peter Rabbit Music, “Looking For Love.” The new solo project from Melbourne musician Peter Hume, it was the first song penned for the project one and a half years ago.

Identity and Feminism: Themes such as Gender identity are illustrated in Shakespeare’s plays through the use of costuming and role playing. In texts like “Twelfth Night”, Shakespeare uses a female character named Viola who is the noblewoman disguised as a boy named Cesario, this creates a comedic gender exchange situation where the role reversal goes wrong and leads to mistaken

Coming from Melbourne by way of New Zealand and Syndey, the sounds of Peter Rabbit come together to reveal a rich and beautiful story in “Looking For Love.” In this exclusive premiere with PPcorn, the Downtown Tracks version of the latest track from Peter Rabbit gives us a moving and authentic look into the world of Peter Hume.

In the book “Gender Trouble” (1990), feminist theorist Judith Butler explains “gender is not only a social construct, but also a kind of performance such as a show we put on, a costume or disguise we wear” (Butler). In other words, gender is a performance, an act, and costumes, not the main aspect of essential identity. By understanding this theory of gender as an act, performance, we can see how gender has greatly impacted the outcome of the play in William Shakespeare’s Othello. From a careful analysis of the story, tragedy in Othello is result of violating expected gender roles, gender performance by Desdemona and Othello, and the result of Iago’s inability to tolerate these violations.

"It was the sexologists… who were to define same-sex love, to give it a name. The term homosexuality was actually used for the first time in 1869 by Karl Maria Kertbeny, a German-Hungarian campaigner for the abolition of Prussia's laws that criminalized sexual relations between men. Homosexuality was not the only term that the late nineteenth century found to describe sexual relations between persons of the same sex. The term inversion was even more widely used. And in 1870, the German physician Karl Westphal invented the phrase "contrary sexual feeling," in detailing the history of a young lesbian. These expressions all had a

In 'Twelfth Night’, gender and sexuality in many ways add to the play’s themes of madness. 'Twelfth Night ' is a reflection of renaissance thought and culture, the renaissance was a transitional period from the medieval to the radical Elizabethan era. The culture of the time was a contradictory one, as from one aspect it was influenced by the patriarchal medieval time, where women were under the rule of men and seen as needing the protection of men, however, from another perspective, the culture was a changing one as women were starting to receive education and many humanists believed that women should be given more rights. The play reflects these attitudes and often challenges the social hierarchy and establishes ideas on gender roles, sexuality and cross-dressing. These factors indeed undermine the expectations of male and female behaviour, and in turn further the play 's theme of madness which has a comedic effect on the audience due to the shock humour it provides.

William Shakespeare, in his well-known comedy Twelfth Night, creates a plot that revolves around mistaken identity and deception. Mistaken identity, along with disguises, rules the play and affects the lives of several of the characters. Shakespeare's techniques involve mistaken identity to bring humor, mystery, and complication to the play. Many characters in Twelfth Night assume disguises, beginning with Viola who is disguised as a eunuch, Maria who writes a letter to Malvolio as Olivia, and then the mix-up between Sebastian and Viola are revealed.

Two of Shakespeare’s works, The Merchant of Venice and Twelfth Night, both have a parallel plot structure which involves a woman disguising herself as a man in order to accomplish some goal. In the former, Portia disguises herself as a lawyer so as to enter the Duke’s court and help her husband’s friend, Antonio, avoid having a pound of his flesh cut off. In the latter, Viola disguises herself as Cesario so she can enter Duke Orsino’s court and work as a page. This parallel structure is further strengthened by the fact that in both plays, the woman in disguise has to perform some task that (during Shakespeare’s time) was usually performed by a man. Portia has to defend her husband’s friend, Antonio, in court, while Viola has to engage in a sword fight with Sir Andrew. Despite the many similarities, there is a subtle difference: Portia seems much more confident in her role as a man when compared to Viola. We see when Portia is effective and confident as a lawyer but Viola is reluctant to spar with Sir Andrew in a sword fight, and also when she is weary that the Fool has caught on to her disguise. This difference reflects the theme of challenging prejudice in The Merchant of Venice, and also reflect the theme of highlighting gender difference in Twelfth Night, which reveals a lot about both plays as a whole.