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Representation of women in Shakespeare
Studying gender roles in literature and life
Gender issues in literature
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Recommended: Representation of women in Shakespeare
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Cloud 9 by Caryl Churchill and Pygmalion by George Bernard Shaw explore character’s identities through gender and societal roles. Cloud 9 focuses heavily on the search for identity; characters are portrayed by actors of the opposite gender or a different age. Pygmalion is more concerned with the role people play in society; taking a rough around the edges lower class girl and attempting to make her into a high society lady. Both plays provide an insight to the dynamics and roles created by society that are inherent in modern drama and the continued oppression and poor treatment of females.
“Many plays in the modern drama canon lend themselves to discussions of home and selfhood, allowing us to identify more precisely how the modern theatre imagines social action and change”(Lee). Both Cloud 9 and Pygmalion provide an exploration of gender and caste roles in society. In Pygmalion the exploration of gender is a great deal less evident and Eliza’s place in the lower class plays more of a part. Cloud 9 does however explore gender and even sexual orientation even further and it’s feminist themes are much more present.
In Pygmalion, Professor Henry Higgins attempts to transform Eliza Doolittle into someone as well spoken as a duchess by simply teaching her the proper dialect. Her place in society means that this opportunity may be her only hope of getting a better job and life. Higgins takes full advantage of this, treating her horribly through teasing and mocking. He treats her as more of a subject to perform experiments on and until she takes action of her own he doesn’t even see her as someone worth his time.
Some may look at his attempt to transform Eliza as something he is doing to he...
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... all of the characters sleeping with a member of the same-sex at one point in the act.
In the second act the play not only jumps forward one hundred years to 1979 (though the time difference for the characters is only 25 years), it also moves to London. All of the characters are portrayed by different actors than they were in the first act. Some have been left behind and we are introduced to some new characters.
The changes in the hundred years are apparent when looking at Betty who went from turning down an affair because it would be improper for her to do so, to divorcing her husband Clive and being on her own. At the end of the play, when the Betty from Act I appears and hugs the Betty from Act II, it is a man hugging a women. The Betty in Act I that was portrayed by a man was submissive is joined with the Betty from Act 2 who is strong and independent.
To an extent, the characters in the play represent aspects of the Australian identity and experience. However, Rayson's vivid grasp of speech patterns to evoke character, and her ability to manipulate the audience with humour and pathos move the text beyond mere polemic and stereotype. In an almost Brechtian way, she positions us to analyse as we are entertained and moved.
Although this play originated in 1879 the director did not seem to have any difficulty keeping the original historical plot and at the same time blending in a bit of modern themes and characteristics. Several words were added that weren't part of Gilbert's original script. It kept the adaptation novel and interesting.
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.
In this essay we will be comparing two female characters from different texts and different time periods. We will be looking in depth at Lady Macbeth from Shakespeare's play 'Macbeth', and Sheila from J.B. Priestley's 'An Inspector Calls'. We will be looking at their roles in their respective plays, and how their characters develop over time.
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.
changing attitudes toward life and the other characters in the play, particularly the women; and his reflection on the
Shakespeare’s Much Ado about Nothing is, on the surface, a typical romantic comedy with a love-plot that ends in reconciliation and marriage. This surface level conformity to the conventions of the genre, however, conceals a deeper difference that sets Much Ado apart. Unlike Shakespeare’s other romantic comedies, Much Ado about Nothing does not mask class divisions by incorporating them into an idealized community. Instead of concealing or obscuring the problem of social status, the play brings it up explicitly through a minor but important character, Margaret, Hero’s “waiting gentlewoman.” Shakespeare suggests that Margaret is an embodiment of the realistic nature of social class. Despite her ambition, she is unable to move up in hierarchy due to her identity as a maid. Her status, foiling Hero’s rich, protected upbringing, reveals that characters in the play, as well as global citizens, are ultimately oppressed by social relations and social norms despite any ambition to get out.
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.
Gender roles have withstood the test of time and equality throughout the world, and only recently has society made advancements towards gender equality. Undoubtedly, this modern progression in equality can be partially attributed to canon literature which broadens a reader’s perspective and challenges them to think critically. Such as the plays “Trifles”, written by Susan Glaspell, and “M. Butterfly”, written by David Henry Hwang, which address gender inequality through dramatic portrayals. Moreover, when compared and contrasted, “Trifles” and “M. Butterfly”, share the universal themes of femininity and masculinity as well as cultural stereotypes.
In 1979, Caryl Churchill wrote a feminist play entitled Cloud Nine. It was the result of a workshop for the Joint Stock Theatre Group and was intended to be about sexual politics. Within the writing she included a myriad of different themes ranging from homosexuality and homophobia to female objectification and oppression. “Churchill clearly intended to raise questions of gender, sexual orientation, and race as ideological issues; she accomplished this largely by cross-dressing and role-doubling the actors, thereby alienating them from the characters they play.” (Worthen, 807) The play takes part in two acts; in the first we see Clive, his family, friends, and servants in a Victorian British Colony in Africa; the second act takes place in 1979 London, but only twenty-five years have passed for the family. The choice to contrast the Victorian and Modern era becomes vitally important when analyzing this text from a materialist feminist view; materialist feminism relies heavily on history. Cloud Nine is a materialist feminist play; within it one can find examples that support all the tenets of materialist feminism as outlined in the Feminism handout (Bryant-Bertail, 1).
Throughout various mediums, queer and gender portrayals are not shown in the best light. Majority of media show clear negative connotations of homosexuals and queens while constantly being a target of discrimination and ridicule. Though as time went on many writers decided to speak up and gain awareness for queer and gender biases by incorporating messages of societal discrimination in their plays. Much of their ideals were that of how sexual/gender identity portrayal, lifestyle stigma, and preconceived notions of the homosexual community. These ideals were combined in what is called gender studies and queer literary theory. Some of these concepts and ideas of queer and gender theory can be seen throughout the play
The benefits of acquiring an education are not limited to the academic aspects often associated with it. Part of the edification it bestows includes being enabled to reach new insight, being empowered to cultivate a new awareness, and being endowed with a new understanding of life and of self. In Bernard Shaw's Pygmalion, Eliza Doolittle experiences this type of enlightenment as the result of undergoing a drastic change in social status. With the sponsorship and guidance of Colonel Pickering, Eliza, a common street flower vendor, receives phonetic instruction from Professor Henry Higgins and is transformed into an elegant and refined "duchess" (817). Eliza Doolittle is highly emotional and has dauntless pride; however, her level of confidence increases as she gains a new perception of herself and a new outlook on life through the instruction she receives.
Topic sentence. “Ow, eez, yə-ooa san, is e? Wal, fewd dan y’ d-ooty bawmz a mather should, eed now bettern to spawl a pore gel’s flahzrn than ran awy athaht pyin. Will ye-oo py me f’them” (1. 11)? This is a word for word sentence of what Eliza, the flower girl sounded like at the beginning of Pygmalion. She had no grammar and her English was hideous to the higher social class people, but Higgins believed he could take this challenge and succeed with it. Higgins never had a doubt in his mind that he would not succeed in changing Eliza from a flower girl to a lady, no matter what obstacles were brought into play. "I couldnt. I dursnt. Its not natural: it would kill me. I’ve never had a bath in my life: not what youd call a proper one” (2. 43). Here the readers are beginning to learn more about Eliza and see what her life truly was like. She says here that she has never had a real bath. She has ...
Pygmalion by George Bernard Shaw is a play that shows a great change in the character Eliza Doolittle. As Eliza lives in poverty, she sells flowers to earn her living. Eliza does not have an education. This shows through the way that she does not have the proper way of speaking. This happens through when Eliza is speaking to the other characters when she meets, then when she is still at a low level of poverty in her life.
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