'Gender (and its experiments) and performance are merely another metaphor for the unknown' (Fiona Shaw in Goodman and de Gay (eds) 1998, xxv).

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Gender

‘Gender (and its experiments) and performance are merely another metaphor for the unknown’ (Fiona Shaw in Goodman and de Gay (eds) 1998, xxv).

‘Gender’ and ‘performance’ are both terms that are being defined and redefined constantly. Talking about them collectively broadens the scope of definition. This then suggests that they are indeed ‘merely another metaphor for the unknown’. If there is no clear definition that may be challenged then it is correct to mark that term as unknown. Lizbeth Goodman (1993) writes that ‘the most difficult thing about writing on feminist theatres is reaching a definition, or set of definitions, of the term ‘feminist’ with which both theorists and practitioners might agree.’ The subject matter that is feminism is just a small category within the term gender. When we speak of gender the immediate response, from most, is to think about roles of men and women throughout history. This is a valid and popular talking point and therefore must be considered. Fiona Shaw challenged the typical role of women within ‘classical’ theatre and literature when she played Shakespeare’s, King Richard the II at the National Theatre. This is a typical gender challenging production where she says she wanted: ‘if not a female Richard, then a genderless one’. When looking at gender and performance together one must take what gender issues arise from a particular performance and investigate them separate to a fixed idea of gender. Gender is too sparse to have a rigid impression or constant opinion, as Colin Counsell and Laurie Wolff (2001) write ‘Owing to the obvious consonance between gender and sexual identity, which negotiate some of the same political structures, feminist theory and queer theory or theories of sexual dissidence have been placed together in this one, large section.’ These are just but a few sub-sections of the more modern word ‘gender’. Where as traditionally this word is held a scientific title of what sex an animal is (male or female), it now suggests other cultural topics such as sexual identity and sexual preference.

‘Gender and theatre/performance’ is not a new subject and rather an old one with fixed and perhaps false views that hold unwritten rules concerning what is socially acceptable. The traditional attempts to explore gender and its properties usually end in comedy. Pantomime offers men as women and women as men every year but is never serious about suggesting the subject is anything else but a tool for laughter.  Elaborate costumes and stereotype appearances hide the topic from reality. It becomes fantastical and probably should do as pantomime is a show of fantasy but then theatre as a convention should then also give a serious alternative to an issue of growing importance to society. Judith Butler (1990) says that drag ‘…effectively mocks both the expressive model of gender and the notion of a true gender identity’. Its feminism predominantly that has started this war against these unwritten laws of theatre but since then more and more gender groups have begun to stake their claim as writers but also as talented performers. Butler (1990) suggest the majority live in a world where ‘disciplinary production of gender effects a false stabilization of gender in the interests of the heterosexual construction and regulation of sexuality within a reproductive domain.’ This indicates that if reproduction were possible and popular in other ways than traditional heterosexual way then society would take a different stance on gender. This again shows a sense of unknowingness and mere speculation. Performance and theatre would do well to speculate also.

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Another ‘unknown’ that can be investigated through theatre is religion. Ever since the beginning of religion, whatever that may have been it is clear that to communicate religious feelings such as faith, performance is a powerful tool. It is only then to be expected that Christianity follow suit with theatre: the most important and powerful figures throughout history in both theses areas are men. Jesus and his disciples were not all men by accident; the culture of the times dictates it. Societies of past times may have lived their lives strictly in line with this religion. If this is ...

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