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In this paper, I aim to discuss how the subjects of gender identity and alternate sexualities perceived in a different way in the reading of Twelfth night than in the comprehending of the Globe Production expounded by James Bulman in “Bearding the Queen: Male Cross-Dressing at the New Globe.” According to Bulman, the all-male production is different from the other type in which women play women and men play men. Twelfth night is a fast-paced idealistic humor with a number of intertwined plots of practical jokes, mistaken identities, and romance. 

Subjects of sexual category identity and alternate sexualities register in different ways when reading Twelfth night than in viewing the Globe Production by James Bulman in “Bearding the Queen: Male Cross-Dressing at the New Globe.” When seeing the Globe Production described by James Bulman in “Bearding the Queen: Male Cross-Dressing at the New Globe, gender identity is seen as performative instead of innate (Bulman 75). In this Globe production, gender is perceived as a cultural construct and sexual desire instead of merely a simple dissimilarity in natural science. It signifies that sexual category is recognized by an extended code of conduct and situational behavior instead of an essential and interior gender identity. Alternative sexuality and gender identity and appear to be different in the interpretation of the Twelfth Night and the Globe Production in a way that particular scenes have comic relief. The play shows itself as comic as a result of its all-male actors having male and female characters. On the other hand, the written type of the drama is less witty since the sexual category characters are set with a traditional players of feminine thespians for female personalities. According to the Bulman article, the Twelfth Night and the Globe production acquired a real Elizabethan method through casting all-male actors for the production of the Twelfth Night comedy. The characters of Viola and Olivia in the Globe production description of the drama presented the viewers a female on the female homoerotic affiliation between Olivia and the player who casted the character of Cesario. Viola’s awareness that she is sexually female prevents her from letting sexual desire or love form for Olivia. In spite of the homoerotic attraction, Viola’s monologue denies that they are satisfying to her in any way, asserting, “My state is desperate for my master’s love” (2.2. 37).

When reading twelfth night, gender identity and sexuality are used as an idea of self-identity. The manner in which Viola cross-dresses as Cesario assists in demonstrating the extent she got a lot of advantages when she was a woman than when she was a man. Histrionic satire quotes such as, “A little thing would make me tell them how much I lack a man” (3, 4, 255-6) reoccur all through the drama and are perceived as a cue the personalities have casual feminineness. Viola, who goes through a transformation of self and the same way as her name, her behavior changes the conventional female behavior. This is especially depicted in Act 2.2 when Viola speaks to herself as Olivia, “Poor lady, she was better to love a dream! Disguise, I see thou art a wickedness” (2.2. 26-27). Viola dwelled in a mannish commanding society on her own after her father and brother died, which was difficult. Despite that, she worked as a man and took on the manlike clothing. The men attire is perceived as practical means of endurance, even though she recognizes herself as a female. As a result of cross-dressing, she switches herself as a man and becomes in charge of her life. 

According to Bulman writings, the all-man production is different from a traditional version whereby women play women and men play men as it casts in all-male characters of the play. There is a difference between the Elizabethan stage and the traditional version where every sex would act their gender parts. It signifies that it was an all-male performer and dressed Elizabethan attire as the male cross-dressed. The all-male production or Elizabethan stage is a stage where substantial fluidity and multiplicity are perceived when directing sexual dynamisms. I fully agree with the thesis of Bulman that a traditional version would not be similar, and it would have eradicated the witticism and the comical relief of the cross-dressed males. The acting of Viola masked as the side Cesario is demonstrated to be much allowable as in the Globe production, the all-male characters act as an alienating device to identify with gender identity and sexual desire. The viewers were open to the sexual category incitements in a common setting like the Globe production, which deeply pleas to sightseers, families, and school broods.

If I were producing a version of this play, I would cast it regarding sexual category of the traditional cast for the drama. I would do this for the reason that the traditional cast will appeal to most viewers and would be simple. By casting female to female and male to male in their exact sexual category, the addressees would have it easy to comprehend gender and alternate sexualities matched of who is female and who is male. Despite that, the traditional casting would have its drawbacks as the component of comicalness in the comedy is sacrificed, which is shown in an open manner when an all-male cast is presented. The factors that will influence my choice on the production variety would be the type of addressees seeing the play. Perhaps, if the drama were to be produced to addressees those individuals acquainted with Twelfth Night and Shakespeare, I would have picked an all-male production. A different manner in which the addressees would influence my decision of casting is that the individuals who are acquainted or have read the Twelfth Night and Shakespeare would hold the homoerotic trace in the production. 

Works Cited

Bulman, James C. “SHAKESPEARE ON AMERICAN STAGES.” The Shakespearean World (2017): 60-80.

Shakespeare, William. Twelfth Night: Or, What You Will. Vol. 13. Classic Books Company, 2001.