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Gender role play
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A part of the human normality is seeking the approval of others amongst us. Whether it be in the way we dress, our day to day lifestyle, and even those who we choose to spend the remainder of our lives with. In response as humans, it is also typical for us to judge those around us based on our individual opinion. Most of the time when people fail to hold similar beliefs to their own, we find it to be unordinary and “wrong”. In both William Shakespeare’s Twelfth Night and David Henry Hwang’s M. Butterfly, both plays include characters who don’t follow the heteronormative expectations and therefore are judged for it by others. In the Twelfth Night, Viola disguises herself as a man named Cesario to work for Duke Orsino whereas, in M. Butterfly, …show more content…
Butterfly introduces characters that also cross-dress in order to reach their particular goal. Song, similar to Viola from Twelfth Night, is a man disguised as a woman. Song manages to convince Gallimard that he is a woman for over eight years. Again this proves that Judith Butler’s theory of gender performativity and that nobody is born with a particular gender. According to Judith "We act and walk and speak and talk in ways that consolidate an impression of being a man or being a woman." Song was able to act and adapt to how women are expected to act and wear what women typically wear. His performance was extremely believable and convincing “Song: I’m an actor. /Chin: Yeah. (Beat) Is that how come you dress like that? /Song: Like what, Miss Chin? /Chin: Like that dress! You’re wearing a dress. And every time I come here, you’re wearing a dress. Is that because you’re an actor? Or what? /Song: It’s a . . . disguise, Miss Chin… It helps me in my assignment.” (Hwang, 2.4) However, it is later speculated that Song disguised as a woman not only to complete his mission as a spy but also to be in a relationship with a man. Song did, in fact, have feeling for Gallimard, however, do to the circumstances and generation it was not looked at as unordinary and wrong for same sexual
This shows how gender is perceived in different cultures. Another scene that shows how sexuality relates to these characters is when Gallimard first meets Renee, and they are about to have sex. She says, "You have a nice weenie." This demonstrates her sexuality as a heterosexual, but it catches Gallimard off guard because he had never had his penis complimented before. This shows how open she is about her sexuality and how playfully she expresses it.
In William Shakespeare’s play Twelfth Night, the use of mistaken identity and role reversal communicates that gender roles and social class are constructed illusions that trick people into having unrealistic expectations about how they are supposed behave.Viola crossdressing as Cesario in the play challenges traditional views of how a woman of her status should act.The differences between the accepted clothing for an individual emphasizes gender roles and social hierarchy in society. During the Renaissance, “ the idea of two genders, one subordinate to the other, provided a key element in its hierarchical view of the social order and to buttress its gendered division of labor” (Howard 423).
In Twelfth Night, by William Shakespeare, gender identity and alternative sexualities are highlighted through the depiction of different characters and personalities. In the play, Viola disguises herself as a man thereby raising a merry-go-around of relationships that are actually based on a lie rather than actual fact. Viola attracts the attention of Olivia since she thinks that Viola is a man but even more fascinating is the fact that Orsino is attracted to Viola although he thinks that she is a man. In another twist Viola is attracted to Orsino and has fell in love with him although their love cannot exist since Orsino thinks that Viola is a man.
The issue of cultural stereotypes and misconceptions thematically runs throughout David Henry Hwang’s play M. Butterfly. The play is inspired by a 1986 newspaper story about a former French diplomat and a Chinese opera singer, who turns out to be a spy and a man. Hwang used the newspaper story and deconstructed it into Madame Butterfly to help breakdown the stereotypes that are present between the East and the West. Hwang’s play overall breaks down the sexist and racist clichés that the East-West have against each other that reaffirm the Western male culture ideas. The stereotypes presented in the play revolve around the two main characters, Gallimard and Song. The play itself begins in the present with Gallimard, a French diplomat who has been incarcerated in a Beijing prison. He relives his fantasies for the past with his perfect woman and shares his experience with the readers throughout the remainder of the play. Upon Gallimard’s arrival in China, he attends the opera and meets Song, and Gallimard immediately describes Song as his “butterfly”. Gallimard falls in love with the “delicate Oriental woman” that Song portrays (22). He then buys into the Western male stereotype that Eastern women need protection by strong, masculine Western men. Gallimard ends up falling in love with Song and has an affair with her to fulfill the stereotypical idea of a dominant Western male controlling an Eastern woman. Throughout Gallimard’s relationship with Song, the readers discover that Song is in reality a male spy for the Chinese government. Song had manipulated his looks and actions to mirror those of the ideal Chinese woman in order to earn Gallimard’s affection. M. Butterfly’s main issue arises from the cultural stereotypes of the masculin...
Stereotypes are commonly held beliefs that most are all individuals sharing a given trait also should or do share other attributes to be associated with aspects such as race, religion, and physical qualities. In Shakespeare’s “Othello” and “A Midsummer Night’s Dream”, he uses stereotypes to embody the characteristics of the stereotypical female according to society’s liking. The women in both “Othello” and “A Midsummer NIght’s Dream” are loyal and faithful. Women are bound by respect and loyalty to the men they love. Shakespeare has drawn a line concerning gender roles and the consequences of violating these positions (Bevington, 2014). Women seem to be victimized by society’s influence as they yield to these stereotypes that shape the
Initially, the play “M. Butterfly”, asserts its position on masculinity in Act 1, Scene III, when Gallimard declares, “And I imagine you—my ideal
Chang 32). On the inside, the shop is no more impressive with “cream colored” walls and a mirror too large for the shop ceiling, so it must be propped up against a wall (E. Chang 34). The rather bland setting parallels with Wang’s no-nonsense work ethic: she is the only person in her group who takes charge of the situation even when Mr. Yee moves to Shanghai and their funding for their scheme is cut (E. Chang 25-26). The mirror propped up against the wall parallels Wang’s ability to take a situation that seems like it will be failing and make it work out in her favor. Her ability to act as a socialite despite the dingy “stage” she is left within the jewelry shop really embodies the strength and determination she carries as an actress and just a powerful female in general. Wang’s power is definitely notable in the story and Sung-sheng Yvonne Chang notes that: “Unlike the other women writers who sought to be assimilated into the male-dominated mainstream tradition, and thus necessarily developed a sense of self-denial [Chang] by choosing to deal with a "feminine" genre, and hence inevitably with the specific ideology of the form, have gained valuable ground in coming to terms with their own socially determined feminine experience.”(S. Chang 205). In this instance, Wang could quite possibly not be seen as any more “socially determined” to make a statement: she is working with
Gallimard declares himself a celebrity, and relishes that his “fame has spread to Amsterdam, London, New York” (Hwang). Outside of his cell is the first encounter of other presences, the two men and woman chat about Gallimard and his crime vaguely, and they toast and laugh at its idiocy. Gallimard believes these toasts and laughs are recognition of his accomplishment. Gallimard then proclaims “.they should be scratching my door, begging to learn my secrets! For me, Rene Gallimard, you see.
As in most comedies, William Shakespeare's Twelfth Night extensively. uses disguises, masks and mistaken identities to add to the comical nature of. the play. Viola's disguise as Orsino's page, Cesario, becomes crucial to the action in the play. Without this important element, the action in the play would slow down dramatically, making the story much less intriguing.
It is evident that Gallimard was, at a conscious level, aware of Song’s true identity. He repeatedly begs her to “come back and become Butterfly again” (page 63), revealing how Song’s biological sex isn't a concern if it means his fantasy would be a reality. For Gallimard, all he wants is to maintain his pure fantasy of Song as the Perfect Woman. He states how he “knew all the time somewhere that [his] happiness was temporary, [his] love a deception. But [his] mind kept the knowledge at bay. To make the wait bearable” (page 88). Gallimard’s initial outright rejection of the reality of Song could be cause of the societal implications that stemmed from the scandal of their relationship. The present Song interacting with Gallimard, which is still
Finally, it's also rather curious what the point of Golden Swallow masquerading as a man was supposed to mean. Everyone she meets treats her as a man before the ruse, then once it's revealed midway through she's a woman everyone treats her as a woman, an event that should've been a huge surprise to all. That it's dropped and never brought back into play is a big telling
Twelfth Night consists of a large number of love triangles, however many characters are too indulged in love that they are blind to the untrue, and the weakness of their relationship, they are deceived by themselves and many people around them ( ex. Malvolio is tricked by Sir Andrew, Feste ,Sir Toby and Maria),but there are certain incidents where the love is true and two characters feel very strongly about one another. In the play, Viola and Orsino have the most significant relationship. The way they interact with each other causes the complexity on which the play is all about, their relationship turns from strangers to friends then lovers .In the First Act Viola is not honest with Orsino because she disguises herself as a male servant named Cesario in order to get closer to the duke. Orsino. Orsino quickly trusts Cesario and sends him to Olivia to declare Orsinos Love for her, the girl he most dearly loves. This quick bond is the fast example of their relationship. At the beginning of the play, Viola thinks her brother (Sebastian) is dead (after they’re deadly boat crash, where they get separated) when actually he is alive and thinks she is dead, Viola always seems to have a part missing from her which shows her bond with Sebastian is strong, and a part of her but in a brotherly/sisterly way rather than a proper relationship like viola and orsino, At the end of the play they meet and both fall in love , Viola with Orsino and Sebastian with Olivia.
While originally it was Song who was disguised as a woman, at the play’s end, it is Gallimard who takes on a female’s appearance. Having finally had his fantasy completely shattered by physical evidence that Song is in fact a man, Gallimard chooses to take on the female’s role himself in an ironic role reversal that tops all others. As he sits in his jail cell reminiscing his relationship with Song, Gallimard allows for makeup to be applied to his face, and dons both the wig and the robe that Song had used for his own disguise. In this instance, Gallimard has literally taken the female identity upon himself, a transformation he affirms when he declares, “My name is Rene Gallimard—also known as Madame Butterfly” (93). The name Madame Butterfly is a reference to the abandoned female lover in the opera Hwang is critiquing, who, out of despair and longing for her man, ends up killing herself.
This “disappointment” that Gallimard feels is the result of his loss of the “Perfect Woman” (2.11.76-77). It is ironic that Gallimard feels he has lost his confidence because of the loss of the “Perfect Woman” because in reality he is a disappointment to the West because he never possessed her. Society ultimately views Gallimard as a fool because of his relationship with Song, as opposed to a masculine Western
Throughout Twelfth Night, disguise and mistaken identity works as a catalyst for confusion and disorder which consistently contributes towards the dramatic comic genre of the play. Many characters in Twelfth Night assume disguises, beginning with Viola, who disguises herself as a man in order to serve Orsino, the Duke. By dressing his protagonist in male garments, Shakespeare creates ongoing sexual confusion with characters, which include Olivia, Viola and Orsino, who create a ‘love triangle’ between them. Implicitly, there is homoerotic subtext here: Olivia is in love with a woman, despite believing her to be a man, and Orsino often comments on Cesario’s beauty, which implies that he is attracted to Viola even before her male disguise is removed. However, even subsequent to the revealing of Viola’s true identity, Orsino’s declares his love to Viola implying that he enjoys lengthening the pretence of Vio...