Titlebook: Cross-Gender Shakespeare and English National Identity; Wearing the Codpiece Elizabeth Klett Book 2009 Elizabeth Klett 2009 English.gender.

Incisor

Gudgeon

,The King’s Many Bodies: Fiona Shaw’s , (1995–96),1, 1995), used the production as an opportunity to lampoon what she termed “Third Sexers”: “It has become an acceptable liberal line in recent years that anything which ‘crosses the gender boundary’ is a Good Thing.… This includes transvestites, transsexuals … and now ‘Third Sexers.’ As if two hadn’

簡略

,Staging and Subverting Nostalgia: Dawn French’s Bottom in , (2001),eautifully detailed forest for the fairy world that recalled the spectacular Victorian stagings of the play The result was a production that was far more conventional than those of Warner, Kaut-Howson, and Udovicki.

assent

,Vice-Versa: All-Female Shakespeare at the Globe Theatre (2003–04),e told Benedict Nightingale in the . (February 4, 2003), “it’s unjust that men should get many more opportunities than women to show their strengths in classic roles.… ‘Isn’t there an enormous waste when women achieve [Ian] McKellen’s or [Michael] Gambon’s ability yet haven’t a King Lear to play?” L

Insubordinate

Weibliche Sexualit?t im Lebenskontext1, 1995), used the production as an opportunity to lampoon what she termed “Third Sexers”: “It has become an acceptable liberal line in recent years that anything which ‘crosses the gender boundary’ is a Good Thing.… This includes transvestites, transsexuals … and now ‘Third Sexers.’ As if two hadn’

Macronutrients

https://doi.org/10.1007/978-3-86226-885-6eautifully detailed forest for the fairy world that recalled the spectacular Victorian stagings of the play The result was a production that was far more conventional than those of Warner, Kaut-Howson, and Udovicki.

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動物

https://doi.org/10.1057/9780230622609English; gender; identity; King Lear; nation; performance; play; theatre; William Shakespeare; British and Ir

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