11. Playing with Gender: Stance, Gesture, Embodiment, and Prosthetics

Chapters in this book

1. Frontmatter i
2. Contents v
3. Illustrations ix
4. Acknowledgments xi
5. Abbreviations xiii
6. Part One: Setting the Stage
7. Introduction 1
8. 1. The Meeting of Art and Academia 41
9. Part Two: Beyond the Globe
10. Beyond the Globe 58
11. 2. Architectures of Gender 59
12. 3. We Tell Our Stories. We Continue to Exist 69
13. Part Three: Energies, Evidence, Emergent Practices
14. 4. Potential Energies in the Early Modern French Repertoire 81
15. 5. The PaRchive and Scraps: Archiving Process in Practice as Research and the Work of Theatre History 97
16. 6. A Note to Mary Frith 115
17. Part Four: Skill, Power, and Swordplay
18. 7. Drawing Your Weapon 129
19. 8. Casting The Roaring Girl: Embodied Skill, History, and Lived Experience 139
20. Part Five: Stepping Beyond Binaries
21. 9. “Mincing Steps” and “Manly Strides”: Practising Gendered Footwork on the Early Modern Stage 165
22. 10. Performing Gender “From the Ground Up” 185
23. 11. Playing with Gender: Stance, Gesture, Embodiment, and Prosthetics 203
24. Part Six: Disruptive Boys
25. Boi-Actrx #1 and #2 218
26. 12. Disruptive Affects: Portraiture, Staging, and Drag 221
27. 13. A Question to Be Asked: Boy Actors, Performance as Research, and Theatre History 233
28. Part Seven: Rehearsing, Teaching, Translating
29. 14. Calling Across from Our Difference: Teaching (Gender)-Nonconforming Characters in Early Modern English Drama 253
30. 15. Rehearsing The Lieutenant Nun: Translation in Action 263
31. Part Eight: Dreaming PaR Futures
32. 16. To Degender Is to Decolonize 283
33. (Non)Conclusions 301
34. Bibliography 313
35. Contributors 337
36. Index 345