The Role Of The British Actress And Playwright

Some argue that women’s roles are often tokenistic in dramatic comedy, since women often have smaller or less important roles than male characters. This may apply to the female characters in ‘One Man, Two Guvnors’ depending on how you interpret the word ‘tokenistic’. The tokenism of a character may be assessed in terms of the size and significance, or by analysing the stereotypes and complexity of their characters.

While many will agree that Shakespeare’s Twelfth Night is critically acclaimed to be one of the most entertaining and well-liked pieces that he has written, there tends to be a discrepancy over how the characters in the play are portrayed when it comes to the importance of gender roles. After reading James C Bulman’s article over the Globe’s more recent performance of Twelfth Night and Shakespeare’s original written version, I realized that there are many ways that this famous piece has been portrayed and each has its own pros and cons.

Femininity is a concept whose attributes are contingent on the culture it is in—what one culture may consider typically feminine traits could largely vary from what another culture views as being feminine. While theater can sometimes subvert theses ideals and present women who function in ways that are not typically feminine, theater can often present idealistic representations of women who exemplify that culture’s ideals of femininity. Take, for example, the female characters in both Guan Hanqing’s Snow in Midsummer and Hroswit’s Martyrdom of the Holy Virgins. While both texts come from largely different cultural contexts—Snow in Midsummer was written in thirteenth century China for a general population whereas Martyrdom of the Holy Virgins was written in tenth century Germany as a closet drama—both texts have female protagonists whose rebellions exemplify feminine ideals of the respective cultures.

“Bouncers” and “Shakers” by John Godber are two captivating plays that challenge gender boundaries and explore the concepts of the stereotypical male and female roles within society. Therefore, the aim of our company was to explore gender stereotypes and gender elasticity through our adapted version of “Bouncers and Shakers”. Thus, bring to light the gender boundaries by delving into the roles of masculinity and femininity with us the actors portraying few roles, as well as challenge the perception that females should play female characters and males should play male characters. Furthermore, as we have discovered from previous years of study, the work of practitioner/playwright’s Sarah Kane and Steven Berkoff offer a great flexibility of gender, therefore we looked into their texts, style and performances in our rehearsal process. On the same hand, we strived to create quite eccentric, melodramatic style of the piece, however still showing conventional and truthful characterisations. Thus, the experience we wanted to create for the audience was to make people relate to these stereotypes and raise questions about the construction of gender. We tried to achieve this by showing scenes from everyday life that everyone can relate to, for instance hairdresser saloon, barbershop, pubs and night life.

Second, the transvestism of the English renaissance theatre creates a "space of possibility" for "structuring and confounding culture" as well as enacting a "category crisis" which reflects a potential destabilization of the dominant hierarchy (Garber 16, 17). Greenblatt points out that the enactment of such difference is an instrument to increase audience anxiety before reifying the normative and conventional in the play's res-olution, a pattern played out in The Merchant of Venice, As You Like It, and Twelfth Night; yet this cannot account for the defiant and yet compassionate resolution of Dek-ker's The Roaring Girl, where the mannishly clad Moll blesses the marriage of Sebastian and Mary Fitz-Allard and their reconciliation with their fathers, at the same time refusing the conventional solution for herself.

The representation of gender roles is among the most prominent recurring subjects in theatre, literature and expressive art as we know it. Gender, and what it means to human beings, is a subject that is as difficult to precisely define as death, race, and the concept of existence. Anne Beall, Ph.D. graduate in Social Psychology at Yale University, details in her book The Psychology of Gender that “Gender is socially defined masculinity and femininity. Social psychology studies how gender is defined, created, and maintained through social influence, especially in the course of social interaction” (Beall; 10). The nature of gender roles is ultimately dictated by temporal, societal, biological and even geographical dimensions that are out of our control and though it is a given that gender as a concept has kept as relevant as it is ancient, there has only been under a hundred years of significant progress or general awareness on the matter. The subject matter of important art in any given time period is a reflection of that society’s most urgent struggles and the topic of gender has remained a constant across human history. The physical and emotional features of characters in art and literature are manifestations of the creator’s perception on subjects such race and gender. The message that a creator seeks to deliver on a topic, determines how they will convey the thoughts,

The concept of gender is evolutionary and difficult to define, though it can be argued that traditionally females have been predominantly defined by their desirability, and males by their masculinity. The way a director presents gender in film can either inspire social change and conversation, or alternatively it can further reproduce social norms. In the case of the film’s discussed in this essay, it is clear that Baz Luhrmann captivates a younger audience and intentionally uses actor selection and the presentation of gender to transform a well-worn Shakespearean story into something new and evolved to inspire a younger audience. On the other

   Shakespeare’s tragic drama Othello features sexism as regular fare – initially from Brabantio and Iago, and finally from Othello. Let us in this essay explore the occurrences and severity of sexism in the drama.

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.

Socialist feminism which believes in a dual-system, indeed it focuses on both the public and private spheres and claims that woman freedom can only be achieved by working to end economic and cultural foundations of women's domination.

In spite of the disagreement about the content, intensity, and significance of what was happening in British theatre over the 1990s, a consensus that the outburst of theatrical energy and creativity took place in that decade has been reached. The political, cultural and societal situations that emerge in Europe and especially in the Great Britain after the WWII extensively influence English theatre. Sarah Kane who is one of the most outstanding and controversial figures of modern British playwriting with the themes of destructive love, sexual craving, pain, physical and psychological dimensions of cruelty, issues of distress, traumas of war and death, reveals the dark, violent and violated souls of the contemporary societies in Blasted, which

Gender identity and its roles in 17th and 19th century England were regarded as rigid fact — definite and unyielding. The adherence to these social protocols was of utmost importance. Masculinity was viewed as being dominant, assertive, and bold, whereas femininity involved beauty, obedience, and chastity. The theatre became a method of challenging this rigid social concept. Both William Shakespeare’s As You Like It and Oscar Wilde’s The Importance of Being Earnest explore these public values through their characters. Wilde and Shakespeare’s use of gender reversals satirize the traditions of social order, marriage, and gender responsibilities at the time, thereby revealing that gender is not absolute.

Julie Taymor 's 2010 film adaptation of Shakespeare 's The Tempest is a truthful recreation of the classic romantic tragicomedy in all aspects except that the role of the magician, Prospero, is played by Helen Mirren, turning him from Prospero to Prospera. Through this simple change in the gender of one of the main characters, we see the play 's themes called into question and viewed differently to how they would have been if the role of Prospero was played by a male. These themes include the usurpation of royalty and family. This review will discuss how Taymor 's decision to change Prospero 's gender is a critique of modern gender discourse.

The place of women within the theatre is well known, that being that they had no place within the stage.  Women's parts were played by young men in

In society, women are often perceived as the weaker sex, both physically and mentally. In modern times women have leveled the playing field between men and women, and feminism is a highly discussed topic, but for years, women faced discrimination and prejudice both in life and in the workplace, due to their sex. This way of thinking flooded into the world of film. In their works, the authors of each of the various sources address the limitations and liberations of women both on and off the screen in nineteenth century Film and Cinema. Not every source is completely filled with information related to the research topic, but they do cover and analyze many of the same points from different perspectives. Prominent points addressed in each