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

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,Die (Er-)findung der eigenen Identit?t, According to this autobiographical reading of the play, Prospero’s speech that begins “Our revels now are ended” (4.1.148) articulates Shakespeare’s farewell to the theater, and the association between the author and the magician means that the play represents “Shakespeare’s last and best expression of human reality” (Vaughan 1999, 89).

guardianship

,Playing with Contradictions: Kathryn Hunter’s , (1997), production, Kaut-Howson and Hunter created an interpretation of Shakespeare’s tragedy that was rooted in an exploration of the contradictions of . critical and performance history, in which “many voices confront each other” (Rosenberg 1972, 5).

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,The King’s Many Bodies: Fiona Shaw’s , (1995–96),gow ., June 6, 1995). The “dangerous” element was the casting of Irish actress Fiona Shaw in the title role, and her “daring” performance produced a mixed critical response. While some reviewers responded rapturously, many demonstrated overt hostility to a woman playing a male Shakespearean role. An

設施

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Mendacious

Essential

,Vice-Versa: All-Female Shakespeare at the Globe Theatre (2003–04),stic director Mark Rylance unveiled his plans for a brand new all-female company to complement the theater’s long-standing all-male company. The Women’s Company, composed of fifteen actresses, performed ., with Kathryn Hunter in the title role, and ., with Janet McTeer as Petruchio. This experiment

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