How might their participation support or undercut his thesis?

Posted: March 22nd, 2022

How do issues of gender identity and alternative sexualities register differently in your reading of Twelfth Night than in your viewing of the Globe production described by James Bulman in “Bearding the Queen: Male Cross-Dressing at the New Globe” (Shakespearean Performance: New Studies. Ed. Frank Occhiogrosso. Madison and Teaneck: Farleigh Dickinson University Press, 2008: 74-91 “Bulman article”)? According to Bulman, how does this all-male production differ from a “traditional” version, in which men play men and women play women? Why do you agree or disagree with Bulman’s thesis? Bulman does not consider the possibility of trans people (trans men or trans women) performing in such a production. How might their participation support or undercut his thesis? If you were producing a version of this play, how would you cast it with regards to gender (traditional, all-male, all-female, cross-gender, some mixture of the above)? What factors would impact this decision