UNDER THE SKIN: THEATRICAL CROSS-GENDER PERFORMANCES OF JAPAN AND THE WEST
A Thesis
The Faculty of the Department of
Theatre Arts
San Jose State University
In Partial Fulfillment of the Requirements
for the Degree
Master of Arts
by
Kathleen Normington
December 2004
ABSTRACT
The following are the goals of this Master's thesis: to initially investigate assumptions about gender that derive from a social role theory; to consider the historical and social forces that help shape the performances of Japan (Kabuki and Takarazuka) and the West (drag queens and kings); to apply what is learned to the cross-gender performances by means of a critical semiotic framework including performance and gender codes; to re-evaluate these performances in light of the above analysis; finally, to compare how gender is manipulated in both Japanese and western performances. Because there is little substantiation of formal acting techniques of any of the cross-gender performers examined, social role theory creates some structure that can apply to all of the performances. The intent is to look beyond the obvious and the stereotypes to deconstruct and reconfigure gender that will eventually lead to an adjustment of established notions of gender.
TABLE OF CONTENTS
List
of Figures.............................................................................................................
vi
Introduction...................................................................................................................
1
Chapter
One: The Changers: Two Identities in One Performer …………….....5
Chapter
Two: Shape Shifting……………………………………………………....35
Chapter
Three: Gender Crossings: The Onnagata and the Otokoyak.............75
Chapter
Four: Synthetic Identities: Drag Queens and Kings………………....135
Chapter
Five: Girl Meets Girl, Boy Meets Boy…………………………………...170
Works
Cited ...............................................................................................................180
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