Boy-Actresses and the Character of Rosalind in As You Like It
When Shakespeare wrote his plays, women were not permitted to perform on stage, so boys played all of the female characters. Unlike many apprenticeships, a boy learning to become an actor had no set age at which to begin and no set length of how long to study, but they usually began around the age of ten and continued playing women or adolescent roles for about seven years. These boys were apprenticed to a specific actor within an acting group, and were not attached to the organization as a whole. There was a very strong teacher-pupil relationship between the adult actor and the boy, but there was also very often a father-son relationship. The boys usually lived in the adult actors home with his family. The idea of an apprentice is not difficult to imagine, but for many modern audiences, a boy playing the role of a women is very difficult to picture. This picture is even more difficult to see when examining the plays of Shakespeare and the strong female characters that he often depicts. (Bentley 117)
In Shakespeare's As You Like It, Rosalind has many layers and acts as a character taking on many different roles. The idea that there is a boy playing a woman disguised as a man pretending to be a woman for wooing, is one that is confusing and yet makes sense. What adds to this is the idea that Rosalind, disguised as Ganymede, is pretending to be Rosalind, not another woman, but herself. One can see that she occasionally slips from the role of Ganymede pretending, to being Rosalind, with comments such as "And I am your Rosalind" (Norton 4.1-56) and "By my life, she will do as I do" (Norton 4.1-135). In these instances it is as though Rosalind forgets that she is disguised as a man, but what does this mean for the actor playing her character? For one it shows that he must be clear as to which role of the character he was playing. As one can imagine
"An audience would be confused unless the performer, regardless of gender, made it clear when Rosalind herself was speaking, when the character was speaking as Ganymede, and when Ganymede was the stereotyped 'Rosalind'" (Shapiro 122).
This idea brings up the versatility that the boy must have had in order to play such a role.
The characters in the comedy are not realistic, and those that could have been were transformed throughout the course of events depicted. The most trouble with the play, however, seems to come from the representation of the female characters, particularly in comparison with the males. It seems almost that the female characters are written off, rather than merely written out. The male characters of the play are given higher roles, and their characters are followed more faithfully, further proving its chauvinistic composition. The title of the play even suggests a sexist nature in its possible Elizabethan reference to the female genitalia. The play seems to reflect the common thought of its era concerning the social stat...
Neely, Carol Thomas. “Shakespeare’s Women: Historical Facts and Dramatic Representations.” Shakespeare’s Personality. Ed. Norman N. Holland, Sidney Homan, and Bernard J. Paris. Berkeley: University of California Press, 1989. 116-134.
The play Twelfth Night, or What You Will by William Shakespeare is a 1601 comedy that has proven to be the source of experimentation in gender casting in the early twenty-first century due to its portrayal of gender in love and identity. The play centrally revolves around the love triangle between Orsino, Olivia, and Viola. However, Olivia and Orsino both believe Viola is a boy named Cesario. Ironically, only male actors were on the stage in Shakespeare’s time. This means that Olivia, Viola, and other female characters were played by young boys who still had voices at higher pitches than older males.
In Shakespearean time and even up to the turn of the 20th Century men were expected to be the sole provider of the family, entailing them to be either well educated or hard working. They were also expected to be good with the handling of finances and property. It was also acceptable for them to be barbaric, boisterous and socially well connected. This has given the men of this time an overwhelming sense of power, respect and freedom; rights which were not given to women at this time. Far from what was socially acceptable in regards to men, the gender identity of women was of a somewhat weaker nature. Women during Shakespearean time were regarded as docile, quiet and non-opinionated. Their socially acceptable role in many cases was to be domestic, entailing them to spend countless hours in the home, tending to basic familial needs, such as cooking and cleaning. This position prevented many women to receive an education or to socialize outside of the home. As a result of their inferior social status, they were expected to be submissive and to cater to her husband’s needs at all times. Women in Shakespearean time were also treated as property, either by their husbands or fathers, which diminished any sense of self-worth they may have possessed. This gender ideology ultimately paralyzed women, as the majority were helpless to alter their social standing or designated familial role.
The use of original practices, the costumes and male characters used to play the role of female characters are due to the different gender identity attributes and sexuality concerns from the play. Although the producer insists that the use of male characters to play female roles was mainly to show case the original set-up and forms of acting it can also be attributed to the producer wishing to raise different sexualities from the audience. The different actors who play the roles of females while they are male characters have been used by the producer to raise different sexualities since the heterosexual people in the audience view of the audience since gender as asserted by Bulman is performative rather than
Throughout Romeo and Juliet, by William Shakespeare, there is an overlaying presence of the typical roles that men and women were supposed to play. During Elizabethan times there was a major difference between the way men and women were supposed to act. Men typically were supposed to be masculine and powerful, and defend the honor. Women, on the other hand, were supposed to be subservient to their men in their lives and do as ever they wished. In Romeo and Juliet the typical gender roles that men and women were supposed to play had an influence on the fate of their lives.
In a romantic forest setting, rich with the songs of birds, the fragrance of fresh spring flowers, and the leafy hum of trees whistling in the wind, one young man courts another. A lady clings to her childhood friend with a desperate and erotic passion, and a girl is instantly captivated by a youth whose physical features are uncannily feminine. Oddly enough, the object of desire in each of these instances is the same person. In As You Like It, William Shakespeare explores the homoerotic possibilities of his many characters. At the resolution he establishes a tenuous re-affirmation of their heterosexuality. In this essay I will show how individual characters flirt with their homoerotic inclinations, and finally reject these impulses in favor of the traditional and socially accepted heterosexual lifestyle. I will explore male to male eroticism through the all-male court in the forest and through Orlando's attraction to Ganymede. I will inspect female to female attraction through Celia's attachment to Rosalind and through Phebe's instant attraction to the effeminate boy, Ganymede.
Throughout the historical literary periods, many writers underrepresented and undervalued the role of women in society, even more, they did not choose to yield the benefits of the numerous uses of the female character concerning the roles which women could accomplish as plot devices and literary tools. William Shakespeare was one playwright who found several uses for female characters in his works. Despite the fact that in Shakespeare's history play, Richard II, he did not use women in order to implement the facts regarding the historical events. Instead, he focused the use of women roles by making it clear that female characters significantly enriched the literary and theatrical facets of his work. Furthermore in Shakespeare’s history play, King Richard II, many critics have debated the role that women play, especially the queen. One of the arguments is that Shakespeare uses the queen’s role as every women’s role to show domestic life and emotion. Jo McMurtry explains the role of all women in his book, Understanding Shakespeare’s England A Companion for the American Reader, he states, “Women were seen, legally and socially, as wives. Marriage was a permanent state” (5). McMurtry argues that every woman’s role in the Elizabethan society is understood to be a legal permanent state that is socially correct as wives and mothers. Other critics believe that the role of the queen was to soften King Richard II’s personality for the nobles and commoners opinion of him. Shakespeare gives the queen only a few speaking scenes with limited lines in Acts two, four, and five through-out the play. Also, she is mentioned only a few times by several other of the characters of the play and is in multiple scenes wit...
At the heart of this courtship is a very complex ambiguity which it is difficult fully to appreciate without a production to refer to. But here we have a man (the actor) playing a woman (Rosalind), who has dressed herself up as a man (Ganymede), and who is pretending to be a woman (Rosalind) in the courtship game with Orlando. Even if, in modern times, Rosalind is not played by a young male actor, the theatrical irony is complex enough.
The portrayal of gender roles in William Shakespeare’s play Othello, demonstrates the inferior treatment of women and the certain stereotypes of men placed on them by society. Both the male and female characters in the play have these certain gender expectations placed on them. In a society dominated by men, it is understood that the women are to be seen rather than heard. The women are referred to and treated much like property. If indeed they do speak up, they are quickly silenced. One woman’s attempt to be the perfect wife is what ultimately led to her demise. The expectations of men are equally stereotypical. Men are to be leaders and to be in control and dominant especially over the women. The male characters compete for position and use the female characters in the play as leverage to manipulate each other. Shakespeare provides insight in understanding the outcomes of the men and women who are faced with the pressures of trying to live up to society’s expectations, not only in the workplace, but also in the home. The pressure creates jealousy issues amongst the men and they become blind to the voice of reason and are overtaken by jealous rage, leads to the death of many of the characters.
... Critical Interpretations, ed. Harold Bloom (New York: Chelsea House Publishers, 1987) 43. For further discussion on renaissance gender performance and identity politics among Shakespeare's cross-dressed heroines, see Michael Shapiro's Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages (Ann Arbor: The University of MIchigan Press, 1994).
Many characters undergo a change in William Shakespeare’s play, “As You Like It”. Duke Senior goes from being a member of a court to being a member of a forest and Orlando changes from a bitter, younger brother, to a love-struck young man. The most obvious transformation undergone, is undoubtedly that of Rosalind. Her change from a woman to a man, not only alters her mood, candor, and gender, but also allows her to be the master of ceremonies.
Gender issues and social commentary are especially relevant in published criticism of Shakespeare's As You Like It since the beginning of the 1990's, as evidenced by the number of articles published in scholarly journals during the past twelve years. Janet Gupton's review in Theatre Journal, published in 2001as well as Louise Schleiner's article in the Shakespeare Quarterly in the fall of 1999, both deal with the treatment of gender-subjectivity.
Shakespeare uses the idea of disguise in many of his plays. It is used as an escape from the characters’ personalities and sometimes for comic effect. In As You Like it, the disguise becomes very comical as in the time it was written only men could act on stage. This could lead to much confusion and comedy in the roles of those in disguise. Disguise can give the freedom to a character to act how they like and a chance for them to show their views. It was in the 16th Century that there became an increased sense of self consciousness and identity. This led to people creating an image for themselves. If one can create a self, they can create many different versions of themselves each showing a different aspect of that person. This links in very well with As You Like It because in the play, Rosalind creates many different disguises of herself. At one point she is disguised as a boy acting as Rosalind. Rosalind and Celia are the main focus for disguise in As You Like It. To ensure safety on their travels in the forest of Ardenne, they disguise themselves – Rosalind as a boy named Ganymede and Celia as a peasant named Aliena. Their names are also important to disguise. Aliena is similar to the Latin ‘Alius’ meaning other. Ganymede was a Trojan mythological hero. Rosalind also uses her disguise to test Orlando’s (the man she loves) feelings for her.