Dramatic Literature, Criticism and Theory Commons^™

Performance, Theatricality, And Identity In Shakespeare’S The Taming Of The Shrew, Nina Masin-Moyer

College Honors Program

William Shakespeare’s comedy The Taming of the Shrew is a curious and often controversial play due to its depiction of spousal abuse and female subordination. But despite that charged reputation, it continues to be produced on stages around the world, with creative choices that suggest an attempt to change a supposedly un-feminist play into a feminist one. My thesis argues that this play already features notable feminist elements at the level of the text itself, stemming in particular from its thematic and structural investment in performance and theatricality and in the roles that these elements play in constructing gender and …

"In Loving Virtue": Staging The Virgin Body In Early Modern Drama, Miranda Viederman

Honors Projects

The aim of this Honors project is to investigate representations of female virginity in Renaissance English dramatic works. I view the period as one in which the womb became the site of a unique renewal of cultural anxieties surrounding the stability of the patriarchy and the inaccessibility of female sexual desire. I am most interested in virginity as a “bodily narrative” dependent on the construction and maintenance of performance. I analyze representations of virginity in female characters from four works of drama originating in the Jacobean period of the English Renaissance, during and after the end of the reign of …

Stranger Compass Of The Stage: Difference And Desire In Early Modern City Comedy, Catherine Tisdale

Doctoral Dissertations

In periods of social and political upheaval like ours, it is more important than ever to interrogate constructions of identity and difference and to understand the histories of alterity that separate us from one another. Stranger Compass of the Stage: Difference and Desire in Early Modern City Drama reimagines the cultural and social effect of alien, foreign, and stranger characters on the early modern stage and re-envisions how these characters contribute to, alter, and imaginatively build new epistemologies for understanding difference in early modern London. Resisting the field’s current critical inclination toward English identity formation, this project works intersectionally to …

The Many Faces Of Cleopatra: How Performance And Characterization Change Cleopatra In Geoffrey Chaucer's "The Legend Of Good Women," William Shakespeare's The Tragedy Of Antony And Cleopatra, And John Dryden's All For Love; Or, The World Well Lost, Rebecca Piazzoni Chatham

Graduate Theses and Dissertations

Geoffrey Chaucer, William Shakespeare, and John Dryden presented the character of Cleopatra differently, through both the written language of their pieces and their own and others’ performances of her, in order to meet the demands of their respective audiences and performance conditions. Chaucer, in “The Legend of Cleopatra,” portrays and performs Cleopatra comically. Shakespeare, in his Tragedy of Antony and Cleopatra, characterizes Cleopatra as a complex woman. In All for Love; or, The World Well Lost, Dryden characterizes Cleopatra as sentimental, but the performance of her on stage by female actresses added depth to the role. For Chaucer and Dryden, …

Playing Devil's Advocate: The Attractive Shakespearean Villain, Jonathan Montgomery Green

Graduate Theses and Dissertations

The characters of William Shakespeare have spawned countless words of critical interpretation inspired by the playwright's aptitude for fashioning intricate and conflicted figures. As a master character craftsman, Shakespeare is consistent in creating fascinatingly deep characters, and many of them have even gone so far as to generate entire literary archetypes. From the contemplative Prince Hamlet to the despicable yet charming John Falstaff, Shakespeare's characters remain eternal representatives of what any good character should be: interesting, provocative, and complicated.

However, among the playwright's most hypnotic figures are his villains, those characters whom audiences should by all counts detest but cannot …