Twelfth Night Identity

Through realms varying from social science to the arts, society is asking itself how former, “solidified” ways of innovation are relevant to the ever-changing idea of normalcy. Within the turn of the 21st century, Western culture has sought bold opportunities to escape the traditional role of identity paradigms, particularly in modern theatre productions. In attempt to mold a new individualistic approach to the idea of “self”, breaking the mold of social, personal, and leadership archetypes through reforms of the individualistic “norm” leaves wavering uncertainty in the air. Florida State University’s (FSU) production of Shakespeare’s Twelfth Night exhibits an honorable intention of drawing together moments of authentic Shakespearean intent

While humor is enjoyable, the progression of the play forces the audience to understand how love has little to do with personality. Logan Thad Jenkins asserts, “It is not only the personality of the lover that is disrupted by passion: it is personality itself, the whole concept of unique, distinct identity”. In the seemingly social justice mecca that is the capitol city of Tallahassee, Florida, Twelfth Night has full potential to juxtapose the “what we will” verses “what we should” mentality- specifically through the role of the twins to a modern, socially conscious audience. While the androgyny of Sebastian and Viola may be masked by an underlying veil of innocence and general appeal of youth, depth of desire is still crucial in determining a dividing line between the two characters. As previously mentioned, the exposition of Twelfth Night immediately invites the audience into a mystic world unknown to modern reference. While playing in this world of mystic, however, there is not a clear idea of normalcy in Illyria, forcing vague perceptions of character intention within Florida State’s production. Casey Charles lays out the imperatives of social reality: culture, socialization, and politics. Where does the disrupt of sexuality paradigm come into play? The answer to this question is not effectively executed on stage by the presence of each character as an individual. In conjunction to Twelfth Night, she adds “…sex as the prediscussive ought to be understood as the apparatus of cultural constructions designated by gender.” With so much potential to delve into the homoerotic undertones of the characters’ seemingly male-female desire, FSU’s production skirts past the tension of sexual desire and glides on the simplicity of joking over the matter of the gender “mix-up”. When compared to historical record