(Trigger warning: use of the word queer(never used
negatively), discussion of a slur)
Shakesqueers Genderfuck: A Look at Shakespeare Through the
Queer Eye
English 102 M/W 2:00-3:15
Carly Healander
“All the worlds a stage, and all the
men and women are merely players” (2.7.146-73) (Moway, 1997). A classic
Shakespeare line but a complex one. Often, the way we play on this stage is in
the circles of gender, man or woman, male or female. Although we become
dictated by these circles in theatre or life, Shakespeare engages in a
different play by turning the concept of gender on its head; executing complex
ideas with brilliant prose in such a way that he was writing transgender
narratives before the vocabulary to describe this experience was fully defined.
By viewing the text with a Queer lens, the meaning behind the words are
enriched, deepened by the voices of the lgbtq+ community, and provides diverse
casting options, retellings and analyses when performing a Shakespearean piece.
In this essay we will be unlearning gender, unlearning Shakespeare and
relearning our sense of play. But first, a few terms to take into account when
Queering the text:
The language of gender in the lgbtq+
(lesbian, gay, bisexual, transgender, questioning and others) continues to grow
and develop just like our understanding of Shakespeare. Although this is the
vocabulary we have now, the community may find more ways to identify or may not
be using these terms and labels at all in the coming years as the humans that
belong in it further their search on what it means to be human. Here are some
terms that will be discussed: Gender Expression is how a person chooses to
express our gender outwardly in ways of clothing, voice, haircut, physicality,
behavior, etc. Gender Identity is a person’s personal sense of what gender is.
How a person views gender, how it applies to that person personally, what
aspects of gender is that person comfortable or uncomfortable with, etc. Gender
Presentation is how the outside world views a person’s gender (Trevor, 2016).
Inside these terms are multiple identity terms such as transgender. This is
when the person does not identify with the gender they were assigned at birth.
Transmasculine or a transman is a person who was born female but identifies as
male. Transfeminine or a transwomen is a person who was born male but
identifies as a woman. Nonbinary is a person who doesn’t identify with either
gender. Genderqueer is a person who identifies with both. Cisgender is a person
who identifies with the gender they were assigned as (Woodstock, 2018). These
words are more complex than their definitions and the people who identify with
them are more complex than the definitions, but these words can provide community
and a guide for any person exploring their gender identity. Using a Queer eye,
a reader of Shakespeare can see how these experiences are shown in the text.
In
the theatre, specifically Shakespeare, there are terms connecting the text, the
actor and gender. Cross-dressing, a term commonly used in the theatre, is when
an actor/character crosses from one gender to another. This term relates mostly
to gender performance, when an actor is performing as another gender.
Trans-dressing, is more than an actor/character ‘crossing’ between genders, but
embodying them. Feeling a deep connection with the gender they are presenting
as (Power, 2018). This gives a more in depth look into the stories and a way to
bring queerness to the light in the classical theatre.
Now
that these terms have been established, take a look at Viola’s monologue from Twelfth Night through the queer lens. In
this monologue Viola is presenting as Cesario(her male identity). She has just
been given a ring from the countess Oliva, who has proclaimed her love for
Cesario, not knowing Viola’s birth gender. Viola is also stuck with the fact
that she is in love with Orsino, a duke, who is unaware of her and Cesario
being one of the same. Orsino, is in love with the countess Olivia but later
falls in love with Viola/Cesario, which is unknown to Viola at first. Essentially, she is dealing with one big love
triangle.
I
left no ring with her. What means this lady?
Fortune
forbid my outside have not charmed her.
She
made good view of me; indeed, so much
That,
as methought, her eyes had lost her tongue,
For
she did speak in starts distractedly.
She
loves me sure; the cunning of her passion
Invites
me in this churlish messenger.
None
of my lord's ring? Why, he sent her none.
I am the man. If it be so, as 'tis,
Poor lady, she were better love a
dream.1
Disguise,
I see thou art a wickedness
Wherein
the pregnant enemy does much.
How
easy is it for the proper false
In
women's waxen hearts to set their forms!
Alas,
our frailty is the cause, not we,
For such as we are made of, such we
be.2
How
will this fadge? My master loves her dearly;
And I (poor monster)3 fond as much on him;
And
she (mistaken) seems to dote on me.
What will become of this? As I am
man,
My state is desperate for my
master's love.
As I am woman (now alas the day!),
What thriftless sighs shall poor
Olivia breathe?4
O
Time, thou must untangle this, not I;
It
is too hard a knot for me t' untie.
1
Transman: This can be read starting off with a sense of confidence in a male
identity. Viola is excited by Olivia falling in love with him, excited his male
identity is seen. Then is struck by a lack of confidence, Viola feels as though
if he were to reveal this part of himself, the outside world would view him as
a liar.
Transwomen:
This can be read in the opposite way as a transmasculine person. Viola is
frustrated that the outside world views her as a man and is placed in this
identity but inside she knows she feels female, so it all feels like a trick.
2
Queer/Trans: In the end of this section, regardless of how the director decides
Viola identifies, this line can be read as finding solace in the self. That
even though Viola may be rejected by society, as long as she knows herself and
lives honestly she is okay with that. For such as we are made, if such we be.
There is nothing wrong with who you are, it is just how you are made.
3
Nonbinary/Genderqueer: It is important to regard the use of ‘monster’ in this
monologue, used as a slur, but also interesting to view in regards of its
definition. ‘Monster’, was a term during Shakespeare's time used for a person
identifying with both sides of the binary gender, a man/women (Folger, 1993)
which we now know to be a very natural experience and use the words nonbinary
or genderqueer to describe it. Aside the cruel phrasing, it is proof that
nonbinary people have been explored in history. This line could also be read as
Viola does not feel she can love Orsino as a man or a nonbinary person because
of the numerous social pressures.
4
Nonbinary/Genderqueer: As I am man, as I am women. In both cases Viola still
has this major crush on Orsino. Oliva, in a sense, can represent the outside
world criticizing Viola on their emotions and forcing Viola to be one or the
other.
In
each of these examples from the text, Viola's character uses a lot of aspects
of trans-dressing. From the queer eye perspective, she not only expresses
gender but feels a connection with each presentation. Throughout the play this
is explored further in dialogue between characters, relationships and the
overall plot, especially toward the end. Orsino, the guy Viola has a major
crush on, proposes to her right after she reveals her assigned gender. There
are no questions only a statement that shows Orsino still sees Viola’s, as a
person between and beyond gender and recognizes her personhood and loves her
all the same (Elise, 2019).
“And since you called me “master” for so long,
Here is my hand. You shall from this time be
Your master’s mistress” (5.1.339-340)…
“—Cesario, come,
For so you shall be
while you are a man.
But when in other habits you are seen,
Orsino’s mistress, and his fancy’s queen” (5.1.408-411).
Throughout
all the many ways to Queer Twelfth Night,
one message is clear: good love speaks not with the body but with the heart. A
message many need to hear.
It
can be seen that this Shakespearean tale would be beneficial for a young queer
audience with the Queer eye in mind. Not only to show them that they can love
who they wish, but are free to explore their gender outside of what the binary
tells them to be stuck in. The show displays the complexity of being human and
human questioning their gender but remaining the same at heart. Casting
transgender actors in Shakespeare told from a queer eye, would not only improve
work for transgender/queer actors and show authentic experiences, but diversify
the Shakespearean world for audiences and actors to come.
Fionn
Shea, a transmasculine actor, writer and musician from New Hampshire, found
solace in another trans-dressing character from As You Like It, Rosalind. He explained in an interview with the New
Hampshire Public Radio, that he came to terms with his gender identity in the
middle of performing one of Rosalind's lines in As You Like It. Fionn said,
[In regards to the line]
"Were it not better [...] That I did suit me all points
like a man?"
And all of a sudden, I sort of understood what she was
talking about and had this
realization and complete certainty of just how much that
felt like it applied.
This realization lead Fionn to
establish a deeper understanding of Rosalind and himself for the rest of the
production and into life. (Biello, 2019).
Another Shakespearean play Fionn
said he identified with and saw as a story that could be told through the Queer
eye, was Richard III. Which another playwright saw as a way to explore the
transgender journey as well.
Terri
Power, an actor, artist, scholar and educator, constructed a play in which she
combined Richard III with the transgender experience and ally of a transgender
person’s experience. Drag King Richard
III, switches between the narration of ‘Lady Femme’ the ally, and the
Shakespearean text of Richard the III, regarding her friend Lawrence’s
experience with being transgender. The play draws clear connections to
Lawrence’s life to the text, Queering it in the most authentic way possible.
The play itself is full of heart and heartbreak and at its core, the struggles
of being human. (Power, 2016).
These
stories brings up the question of how many trans people Shakespeare could help
find their truest selves or feel visible in a world where trans visibility is
so rare. And to cisgender audiences, to become more exposed to an experience
they may be unfamiliar with. Using Shakespeare in a Queer eye normalizes the
experience while being in a genre most people are fairly familiar with.
Hopefully, theatre companies will begin to see the importance of this and begin
to apply it to productions so maybe a young queer kid will see them self
onstage in a place where they never thought they could. In the big picture,
regardless of gender or how these characters are read, these genderfucking
characters and people are human as a human can be. In the words of Dugald
Bruce-Lockhart “And whether that
character is a grandfather, an uncle, a daughter, a son, it’s a character in a
story and that's it.” (Power, 2018). Off or on stage, there’s some real truth
in that.
Sources
Belsey, C. (2009) Twelfth night: A
modern perspective New York: Simon & Schuster
Biello,
P. (2019, March 29) The Bookshelf: Coming
out as trans, with help from shakespeare. [Audio Podcast]. Retrieved from
https://www.nhpr.org/post/bookshelf-coming-out-trans-help-shakespeare#stream/0
Elise.
(2019, May 12) Love me for who I am: An
essay on william shakespeare’s twelfth night. [Blog Post]. Retrieved from
https://thebookishactress.wordpress.com/2019/05/12/love-me-for-who-i-am-an-essay-on-william-shakespeares-twelfth-night/
Moway,
B., Shakespeare, W., Werstine, P. (1993) Twelfth
night: Folger shakespeare library. New York: Simon & Schuster
Moway,
B., Shakespeare, W., Werstine, P. (1997) As
you like it: Folger shakespeare library. New York: Simon & Schuster
Power, T. (2016) Shakespeare and gender in practice. New
York: Red Globe Press
The
Trevor Project. Trans and gender identity.
(2017, September 2) Retrieved from https://www.thetrevorproject.org/trvr_support_center/trans-gender-identity/
Woodstock,
M. (2018, January 8) Gender reveal:
Gender 101 [Audio Podcast]. Retrieved from
https://gender.libsyn.com/episode-1-gender-101
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