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- 학술저널
- 저자정보
- 발행연도
- 2000.9
- 수록면
- 437 - 463 (27page)
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This article sets out to consider the changes of gender ideology and its social and sexual complications represented on the stage of public commercial playhouses in Renaissance England. In early modern England the public theatres aroused the antitheatrical sentiment in the City Fathers or Protestant Church leaders who sought to uphold established social order. They rendered the playhouses subversive, especially in terms of gender identity, focusing on the practice of cross-dressing on the stage in which boy actors take female roles or, more alarmingly for the patriarchs, female characters put on men's garments. Cross-dressing was not merely a matter of public stage but that of problematic cultural ideology. This theatrical practice was not wholly unfamiliar to those who encountered transvestism on the streets of London. Such occurrences both on the stage and in the streets were the very source of misogynist anxiety in antitheatricalists who regarded cross-dressing as a virulent assault on the patriarchal cultural system and a violation of the law of God. At the same time, cross-dressing prompted a reconsideration of such issues as ambiguous sexual relationships, erotic androgyny, and sexual discipline.
This is the very case of Viola in Twelfth Night who finds it the best way for survival in an alien environment to transform herself into a man, Cesario. Viola's cross-dressing and her sexual indeterminacy cause ambiguous erotic responses from both Olivia and Orsino, and expands the space of erotic relations among the characters or between the (female) characters and the audience. Cross-dressed like a man, Viola endorses both the traditional and presently emergent views on gender: while seeking every way to be convinced of and reawaken her given feminity, she attempts to forge her gender identity according to her own will and thus repudiate sexual difference, for example, by dressing-down as an eunuch to castrate her exterior masculinity and by dressing-up as a man to assume male prerogatives. Viola's cross-dressing helps to make obscure the gender boundaries, give rise to the confusion of gender roles, and provide anxiety against and fantasy for the disruption of the established gender fixity. In Twelfth Night the practice of cross-dressing is not simply intended for comic resolution of sexual entanglements by the way of patriarchal marriages but rather for representing the ambiguous relationship of erotic desires caused by the confusion of gender identity. The public theatres in early modem England, therefore, were not merely artistic places but the special sites for the exploration of social problematic issues and the cultural contestation to look into the society in the state of flux.
This is the very case of Viola in Twelfth Night who finds it the best way for survival in an alien environment to transform herself into a man, Cesario. Viola's cross-dressing and her sexual indeterminacy cause ambiguous erotic responses from both Olivia and Orsino, and expands the space of erotic relations among the characters or between the (female) characters and the audience. Cross-dressed like a man, Viola endorses both the traditional and presently emergent views on gender: while seeking every way to be convinced of and reawaken her given feminity, she attempts to forge her gender identity according to her own will and thus repudiate sexual difference, for example, by dressing-down as an eunuch to castrate her exterior masculinity and by dressing-up as a man to assume male prerogatives. Viola's cross-dressing helps to make obscure the gender boundaries, give rise to the confusion of gender roles, and provide anxiety against and fantasy for the disruption of the established gender fixity. In Twelfth Night the practice of cross-dressing is not simply intended for comic resolution of sexual entanglements by the way of patriarchal marriages but rather for representing the ambiguous relationship of erotic desires caused by the confusion of gender identity. The public theatres in early modem England, therefore, were not merely artistic places but the special sites for the exploration of social problematic issues and the cultural contestation to look into the society in the state of flux.
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