Early Modern Tragedy, Gender and Performance, 1984-2000 : The Destined Livery

Using nine recent theatrical and cinematic productions as case studies, it considers the productive contradictions and tensions that occur when contemporary actors perform the gender norms of previous cultures. It will be of interest to theatre practitioners as well as to students of early modern drama, of performance, and of gender studies.

List of Figures Acknowledgements List of Abbreviations Introduction: The Destined Livery? PART ONE: REALISM AND REINSCRIPTION What We Are, But Not What We May Be: The ''Feminist'' Ophelia and the Reproduction of Gender An Actor in the Main of All: Individual and Relational Selves in The Duchess of Malfi The Natural Father and the Imaginary Daughter: Patriarchy as Realism and Representation in Titus PART TWO: PERFORMANCE AND PERFORMATIVITY ''Let Me Forget Myself'': What a Queen is Good For in Edward II Death and the Married Maiden: Gender Reproduction as Destruction in The Broken Heart Tricked Like a Bride: A New Traffic in A Woman Killed with Kindness Conclusion: Cultural Drag, or, Hamlet and Ophelia Redux Appendix: Casts, Production Teams, and Opening Dates of Productions Discussed Bibliography Index Index