My trust in the definitiveness of reality is swiftly disintegrating beneath me. The deeper I dive into the abyss of theory, the more I realize that nothing I have learned is safe from change; that facts may actually be temporary and that everything is a prisoner of our construction of time. In admitting this, I worry that these hypotheses are the beginning of a tiny delusion that will begin to gradually eat away at the rest of my sanity. That scares me a bit, yes, but even as I sit here writing, I love this newfound instability because it’s ironically made me feel more grounded than I’ve ever felt. Armed with these ideas, I have looked back at the world I’ve grown up with and finally begun to see society’s seams tugged apart, its splintered frame exposed, and the fear and worry of its people uncovered. But I have also exposed, buried deep within its guarded chest, the hope and innovation and change that inspires humanity’s pervasive drive towards progress. It’s within this fragmented existence that I feel that I have a place within this generation’s script. However, it’s now a matter of figuring out which role is mine.
The cynic inside me can’t help but look at the cast list and feel an irrepressible sense of sadness; with such a long list of characters to choose from, why do we prescribe such commonplace roles to ourselves? I believe that it all starts with gender. Judith Butler reasons in her inspirational essay “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory” that gender is a performance. She observes that sex (the biological facts defining male and female) is not what actually makes a man and man and a woman a woman, but rather that one’s gender identity is determined through a styliz...
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...easy for the less informed to drown in if one detail is highlighted with greater weight. It’s been a constant power struggle between these two genders whose desperate goal is to find some sort of order amidst chaos. It’s simply easier to have a leader, but the ways in which we’ve selected these privileged few I find disquieting. Though I do not believe that gender is one hundred percent learnt, as Butler believes, I do think that societal impositions play too strong a role in creating identities. This is especially true in the theatre, and I know that many of my female classmates will agree with this. Women are capable of acting in masculine manners just as the converse is true for men. But if this idea is to ever branch out into the real world, whatever that may mean, the theatre is a perfect place for its journey to begin- and I believe that has every right to.
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
Richmond, Macrae Hugh. "Women's Roles" Shakespeare's Theatre: A Dictionary Of His Stage Context (2004): 502-504. Literary Reference Center. Web. 31 Mar. 2014.
Do Women Play a Vital Role in Shakespeare's Julius Caesar? In my essay I will be analysing two critics, Jan H. Blits and Mary Hamer, that discussed whether or not women played a vital role in William Shakespeare’s Julius Caesar. The first critic, Jan H Blits, discusses how the women in the play are inferior to the men. Blits states this opinion by comparing the two genders roles in the entire play, “The manly is associated with the firm, the brilliant, the cold, the independent, the high and the noble”.
Throughout the plays, the reader can visualize how men dismiss women as trivial and treat them like property, even though the lifestyles they are living in are very much in contrast. The playwrights, each in their own way, are addressing the issues that have negatively impacted the identity of women in society.
Pause for a second and think about a play or musical that you have seen. Consider the plot, whether you liked it or not and if the experience was positive or negative. Think about the characters, the costumes, and the emotions that were emitted. The discourse community of theatre is unique in the way that it is so complex and there are many different parts that ultimately come together to create a dynamic whole. The term discourse community is rather broad, but John Swales in his article “The Concept of Discourse Community” gives six characteristics that define it. Swales lists them saying,
Butler, Judith. Ed. Case, Sue-Ellen. "Performative Acts and Gender Constitution." Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press, 1990.
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
Judith Butler’s concept of gender performativity suggests that there is a distinction between “sex, as a biological facticity, and gender, as the cultural interpretation or signification of that facticity” (Butler, 522). Performing certain actions that society associates with a specific gender marks you as that gender. In this way, gender is socially constructed. Alfar defines the societal expectation of women as the “constant and unquestioning feminine compliance with the desires of the masculine” (114). Considering Macbeth from a modern perspective and taking this distinction into account, it is necessary to determine if the play is concerned with sex or with gender. Before the action of the play even begins, the audience is warned that “Fair is foul, and foul is fair” (1.1.11). The first scene of the play casts the world of Macbeth as a land where everything is opposite or disordered. This line at the very start of the play cautions audiences to not take the play at face value because things are not always as they appear to be. Because of this, “all the binaries become complicated, divisions blurred. Thus the binary nature of gender identities, male/female, is eliminated” (Reaves 14). In the world of Macbeth, the typical gender constructions are manipulated and atypical. If the play does not deal with sex, the qualities of Lady Macbeth cannot be applied to all women but rather, representative of society’s construction of gender, “the patriarch, and the limited, restrictive roles of women” (Reaves 11). Within this reading of Lady Macbeth, Shakespeare’s examination and questioning of gender construction allows modern day readers to recognize the enduring relevance of
Through discourses in theatrical, anthropological and philosophical discussions, Butler portrays gender identity as being performative rather than expressive. Gender, rather than being drawn from a particular essence, is inscribed and repeated by bodies through the use of taboos and social
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
“Theatre makes us think about power and the way our society works and it does this with a clear purpose, to make a change.”
Theatre-In-Education The theatre education industry/movement has seen some rapid changes since its initial developments and establishment in the 1960’s. However its origins mainly lie in the early years of the last century. It was the initial establishment of companies such as Bertha Waddell’s in Scotland and Esme Church’s in the north of England that thoroughly established the main roots of TIE.
Theatre will always survive in our changing society. It provides us with a mirror of the society within which we live, and where conflicts we experience are acted out on stage before us. It provides us with characters with which we identify with. The audience observes the emotions and actions as they happen and share the experience with the characters in real time.
For thousands of years, people have been arguing that theatre is a dying art form. Many people think theatre is all just cheesy singing and dancing or just boring old Shakespeare, but there is much more to theatre than those two extremes. Theatre is important to our society because it teaches us more about real life than recorded media. Theatre has been around for thousands of years and began as a religious ceremony that evolved into an art form that teaches about the true essence of life. Theatre can incorporate profound, and provocative, observations of the human condition that can transcend time; lessons found in Greek plays can still be relevant to the modern world. People argue that the very essence of theatre is being snuffed out by modern
My experience watching a live theatre performance on stage was a fascinating one, most especially since it was my first time. I attended a staged performance of “The History Boys” in a small theatre called “The Little Theatre of Alexandria” at 8:00 pm on Wednesday June 8, 2016 in Alexandria, Virginia. The overall production of the play was a resounding experience for me particularly the performance of the actors and the design of the scene made the play seem real.