Travestismo teatral

 

    from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

Cross-Dressing

 

 

Bauer, Heike, ed. Women and Cross-Dressing, 1800-1939. 3 vols. (History of Feminism). Andover: Routledge, 2005.

Bynum, Caroline Walker. "Women's Stories, Women's Symbols: A Critique of Victor Turner's Theory of Liminality." In Anthropology and the Study of Religions. Ed. Frank E. Reynolds and Robert Moore. Forthcoming 1988. (Cross-dressing in medieval saints' lives).

Carmona Rodríguez, Pedro. "Walking the Streets Dressed Like a Woman: Gender Trouble and the Collapse of the Gender-Sex Equation in Shani Mootoo's Cereus Blooms at Night." In Actas XXVIII Congreso Internacional / International Conference AEDEAN. CD-ROM. Valencia: U de València, 2005.*

Dolan, Jill. "Gender Impersonation Onstage.: Destroying or Maintaining the Mirror of Gender Roles." In Women and Performance 2.2 (1985).

Garber, Marjorie. Vested Interests: Cross-Dressing and Cultural Anxiety. New York: Routledge, 1992.

Geary, Keith. "The Nature of Portia's Victory: Turning to Men in The Merchant of Venice." Shakespeare Survey 37 (1984): 63-64.

Hic Mulier: Or, The Man-Woman: Being a Medicine to cure of the Coltish Disease of the Staggers in the Masculine-Feminines of our Times. Excerpted in Half Humankind. Ed. Henderson and McManus. 24-76.

Howard, Jean. "Crossdressing, the Theatre, and Gender Struggle in Early Modern England." Shakespeare Quarterly 39.4 (1988).

Levine, Laura. "Men in Women's Clothing: Anti-Theatricality and Effeminization from 1579 to 1642." Criticism 28 (1986): 121-43.

Markley, A. A. "'The Truth in the Masquerade': Cross-Dressing and Disguise in Mary Shelley's Short Stories." In Mary Shelley's Fictions. Ed. Michael Eberle-Sinatra. Houndmills: Macmillan; New York: St Martin's, 2000. 109-26.*

Rackin, Phyllis. "Shakespeare's Crossdressing Comedies." In A Companion to Shakespeare's Works, Volume III: The Comedies. Malden: Blackwell, 2003. Pbk. 2006. 114-36.*

Rose, Mary Beth. "Women in Men's Clothing: Apparel and Social Stability in The Roaring Girl." ELR 14 (1984): 367-91.

Smith, Bruce R. Homosexual Desire in Shakespeare's England: A Cultural Poetics. Chicago: U of Chicago P, 1991. Pbk. 1994.*

Straub, Kristina. "The Guilty Pleasures of Female Theatrical Cross-Dressing and the Autobiography of Charlotte Charke." In Body Guards: The Cultural Politics of Gender Ambiguity. Ed. Julia Epstein and Kristina Straub. New York: Routledge, 1991. 142-66.

Trussler, Simon. "6. The Jacobean Theatre 1603-1625." In Trussler, The Cambridge Illustrated History of British Theatre. Cambridge: Cambridge UP, 1994. pbk 2000. 90-105.* (From Elizabethan to Jacobean. New patrons, and the 'move indoors'. Changing audiences and changing tastes. Acts and scenes. The nature of 'character': the malcontent and the revenger. Conventions, cross-dressing, and clowning. Tragedy, tragi-comeedy, and the 'triumvirate of wit'. Masques, and other entertainments. 'City Comedy', the puritans, and the politics of theatre).

Wandor, Michelene. "Cross-Dressing, Sexual Representation, and the Sexual Division of Labour in the Theatre." In Wandor, Carry On, Understudies: Theater and Sexual Politics. London: Routledge, 1986. 20-35.*

 

 

 

 

 

Films

 

 

Pollack, Sidney, dir.Tootsie. Film. 1982.

 

 

 

 

 

Music

 

Beethoven. Fidelio. Opera. Rev. version of Lenore. Libretto by Georg Friedrich Treitschke, based on the libretto of Leonore. Premiere 23 May 1814.

_____. Fidelio. Hildegard Behrens, Peter Hofmann, Hans Sotin, Theo Adam, Sona Ghazarian, David Kuebler, Gwynne Howell, Robert Johnson, Philip Kraus. Chicago Symphony Chorus (Margaret Hillis). Chicago Symphony Orchestra / Sir Georg Solti. London: Decca, 1980. 2 CDs. Notes by Rodney Milnes. Decca, 1984.*

_____. Fidelio. Gundula Janowitz, René Kollo, Manfred Jungwirth, Lucia Popp, Hans Sotin, Dallapozza. Wiener Staatsopernchor. Wiener Philharmoniker / Leonard Bernstein. In Leonore. Fidelio. 4 CDs. (Complete Beethoven Edition, 4). Hamburg: Deutsche Grammophon, c. 1997.*

 

 

See also Transvestism; Shakespeare: As You Like It, Twelfth Night.