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This article compares Shakespeare’s Globe’s Twelfth Night in 2012 and Trevor Nunn’s film adaptation in 1996 in order to explore Viola’s cross-dressing in light of its gender performance. The production of Shakespeare’s Globe, in which male actors played female roles, might as well have delayed the audience’s perception of Viola’s gender because the part was played by a male actor. The audience were seeing that a man was playing a woman who was also pretending to be a male. When Viola revealed her love for Orsino, her desire must be mediated by Cesario that was enacted by herself. Orsino, then, could feel a homosexual impulse that was caused by Viola’s ambiguous appearance that was expected to be perceived as woman in the theatrical context. Yet, Viola’s feminity had already been contaminated by a masculinity that could not be failed to be perceived. Although the audience were laughing in the scene, they might have been anxious for breaking down of the gender binary because of the enacted masculinity (feminity). Therefore, the production demonstrated a threat to the notion of sexual difference which patriarchal gender order is deeply based upon. Meanwhile, the film version of the comedy (1996) presents a strong Viola played by actress. Although she could even overpower other male characters, she yearned to regain her feminity which was rarely unnoticed by other character. Yet both productions do not present a challenge to the binary category of man and woman Rather, the comic in the film renders the audience to remind the reaffirmation of the binary category. This comparison suggests that the stage such as Shakespeare’s Globe where a division between reality and fiction is often blurred be a right place for conceiving gender fluidity.

권호기사

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기사명 저자명 페이지 원문 목차
『십이야』에서 크로스 드레싱과 젠더 인식의 지연 = Cross-dressing in Twelfth Night and a delay of perception of gender 조성관 p. 239-259

"I am not what I am" : the ambivalence of all-male performance in Ninagawa Yukio's Twelfth Night Boram Choi p. 289-315
Understanding Shakespeare and Fletcher's The Two Noble Kinsmen through Johan Galtung's violence triangle Dong-ha Seo p. 317-345

『겨울이야기』 속의 겨울이야기, 그리고 진짜 겨울이야기 = A winter's tale in The Winter's Tale, and the real winter's tale 김문규 p. 211-238

『헨리 5세』와 『리어 왕』에서 살펴본 주변부에 대한 셰익스피어의 극적 이용 = Shakespeare's dramatic use of the margins in Henry Ⅴ and King Lear 황효식 p. 261-287

참고문헌 (13건) : 자료제공( 네이버학술정보 )

참고문헌 목록에 대한 테이블로 번호, 참고문헌, 국회도서관 소장유무로 구성되어 있습니다.
번호 참고문헌 국회도서관 소장유무
1 Twelfth Night. Directed by Trevor Nunn, Fine Line Features, 1996. DVD. 미소장
2 Twelfth Night. Directed by Tim Carroll, Shakespeare’s Globe, 2013. DVD. 미소장
3 Belsey, Catherine, “Disrupting Sexual Difference.” Alternative Shakespeares. Ed. John Drakakis. London and New York: Routledge, 2002. Print. 미소장
4 Billington, Michael. “Twelfth Night/Richard III—review” The Guardian. 18 November 2012. Web. 미소장
5 Brantley, Ben. “How Mark Rylance Became Olivia Onstage” The New York Times. 14 August 2016. Web. 미소장
6 Bulman, James C. “Queering the Audience.” A Companion to Shakespeare and Performance. Ed. Barbara Hodgon and W.B. Worthen. Chichestger: Wiley-Blackwell, 2005. Print. 미소장
7 Butler, Judith. Gender Trouble. New York: Routledge, 1990. Print. 미소장
8 Howard, Jean E., “Cross-dressing, The Theater, and Gender Struggle in Early Modern England.” Crossing the Stage. Ed. Lesley Ferris. London and New York: Routledge, 1993. Print. 미소장
9 Feldman, Adam. “Q&A: Mark Rylance on Shakespeare, Twelfth Night and Richard III.” Time Out New York. 12 November 2013. Web. 미소장
10 Garber, Majorie. Vested Interests: Cross-dressing and Cultural Anxiety. London: Routledge, 1992. Print. 미소장
11 Shakespeare's Persians 네이버 미소장
12 Smith, Bruce R. Shakespeare and Masculinity. Oxford: OUP, 2000. Print. 미소장
13 Traub, Valerie. “Setting the Stage behind the Seen.” The Queerest Art: Essays on Lesbian and Gay Theater. Ed. Alisa Solomon and Framji Minwalla. New York: NYU Press, 2002. Print. 미소장

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