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Twelfth Night AO5: Gender and Sexuality - Coggle Diagram
Twelfth Night AO5: Gender and Sexuality
John Mullan
The all male cast allows for characters to switch their sexuality 'artistic freedom'
Tim Carrol production
C.L Barber
'temporary, playful reversal of sexual roles' can renew the meaning of normal relationships
German Greer
"The inconsistency of men and the solidity and truth of women"
Jan Kott
Orsino desiring his page, Olivia a woman and Antonio desiring his young master isn't 'confined' in 'marriage resolutions'
Godwin production, Olivia is dismayed by the resolution and her misguided marriage
Michael Dobson
Offers a glimpse of 'sexual self delusion' in the character of Malvolio
This idea of 'sexual self delusion' is changed in the Godwin (2020) production to not be about class and status but about sexuality with the female casting, making 'Malvolia' a representation of lesbianism.
Miranda Fay-Thomas
Twelfth night portrays gender as essentially a 'performed role'
Carrol production demonstrates how strong this would impression would have been to a Shakespearean audience where there was an all-male cast
John Caird
Viola is more 'sexually completed' at the end of the play
Dympna Callaghan
An example of the exclusion of the female body in the male impersonation of the personages
Valerie Traub
"It is the object of another women's desire that Cesario finds her own erotic voice"