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Antonio twelfth night homosexual parenting

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Skip to main content. Log In Sign Up. Certainly cross-gender casting remained common enough at all-boys and all-girls schools, and Antonio twelfth night homosexual parenting resurfaced on the professional stage as part of British pantomime in the nineteenth century, but the practice was regarded mostly as a relic of days past. In fact, when Ben Greet directed a professional all-male production of As You Like It at the Central London YMCA in —the irst such production in years—he explicitly sought to reconstruct the historical past by capitalizing on the premise of recuperating original stage practices.

It is for this reason that I employ a male cast, so that we shall not—entranced by the surface reality—miss the interior truth.

Gay men are present in...

For example, in one of his early roles, Anthony Hopkins as Audrey yodeled and sported a blond wig styled in a big boufant. More recently, however, a return to the practice of cross-gender casting in Shakespeare has taken place, challenging our modern sensibilities, especially in regard to staging erotic possibility, sexual identity, and gender luidity. As I argue elsewhere, this movement began in the s at the Citizens heatre in Glasgow or Citzwhich reintroduced cross-gender casting as one of several radical aesthetics of performance in an all-male production of Hamlet Giles Havergal, At the Citizens heatre, the directors were most audacious in casting a male actor to play the titular Egyptian queen in Antony and Cleopatra Giles Havergal and Philip Prowse, and in presenting Achilles and Patroclus as glam rock lovers in a jockstrap version of Troilus and Cressida Philip Prowse,more or less set in a gay sauna.

In the case of Jaques, this makes sense, for the experience of "Antonio twelfth night homosexual parenting" outsider is an important component of lesbian and gay identity and queer theater; it follows that stressing such experiences might also prove a useful strategy for staging Shakespeare in ways that connote queerness. Since the turn of the millennium, interest in cross-gender-cast Shakespeare has increased exponentially; to point, three British professional theatrical companies have presented Twelth Night with all- male casts: Some of these productions were replete with queer moments, while others appeared, for lack of a better term, more or less straight.

In it, I attempt to make more transparent and intelligible the connection between contemporary cross- gender casting and the possibilities for performing queer Shakespeare. As well, I challenge the assertion that cross-gender casting must necessarily reference early modern models, instead suggesting that all-male performance can allude to productions that are more recent, thereby recuperating the practice as an aesthetic of queer Shakespeare.

While I have previously written on the visual impact of male Antonio twelfth night homosexual parenting playing Viola, Olivia, and Orsino in productions of Twelth Night, here I am interested in a more explicit, textual homoeroticism.

Comic Endings and Irreconcilable Characters Shakespearean comedy is oten seen and frequently taught as the opposite of Shakespearean tragedy. Whereas tragedy deals with the transition from order to chaos and ends with a death or deaths, depending on the playcomedy starts in chaos and charts the return to order, characterized most oten by a marriage at the end of a play.

At the end of the play the device in the plot that brings hero and heroine together causes a new society to crystalize around the hero, and the moment when this crystallization Antonio twelfth night homosexual parenting is the point of resolution in the action. Even if an individual has been especially nasty for the majority of the play, like Oliver in As You Like It or Angelo in Measure for Measure, that individual is oten incorporated into the new social order.

When Jaques exits before the dance in search of the newly banished Duke Frederick, he exchanges the homosocial foresters for homosocial monasticism. Male Friendship This pairing is one of the most explicit and stable homoerotic representations in Shakespeare. Together Antonio and Sebastian represent a same-sex and for some scholars mutually loving couple that nonetheless must ind suitable mates of the opposite sex to fulill the aforementioned central premise of romantic comedy: Chad Allen homas Another approach is for Antonio to portray his afection for Sebastian as romantic, erotic, and unrequited.

Such relationships, bound in rituals similar to marriage, were embraced by and embedded in broader social networks. In productions that invoke this kind of relationship, Antonio will quite oten end the play alone, woefully looking on as Sebastian celebrates his marriage to Antonio twelfth night homosexual parenting young, rich, beautiful woman.