Theatrical Adaptation of Shakespeares Twelfth Night

Leaping from page to screen, timeless stories find new life in visual adaptations, bridging the gap between literary and visual arts. This transformative process, however, inevitably leads to variations between the written and visual versions. While both mediums may adhere to the same storyline, they diverge significantly in various aspects of storytelling. This phenomenon is particularly evident when comparing the written play "Twelfth Night" by William Shakespeare to its Globe Theatre production. This essay will explore how the portrayal of gender identities, casting choices, and societal implications in these two versions reflect deeper cultural narratives and challenge traditional views.

Gender Portrayal and Casting Choices

In the written version of "Twelfth Night," Shakespeare crafts a narrative deeply entrenched in the gender norms of his time, emphasizing distinct masculine and feminine identities. The male characters are depicted with a pronounced sense of pride and valor. For instance, Sir Toby Belch highlights Sir Andrew's masculinity by boasting, "He’s as tall a man as any’s in Illyria" (1.3.15), where "tall" connotes bravery and strength. The sword serves as a potent symbol of manhood, as Sir Toby further illustrates by advising Sir Andrew, "An thou let part so, Sir Andrew, would thou mightst never draw sword again" (1.3.49-50), underscoring the link between weaponry and male worthiness.

Conversely, female characters in the written play are often portrayed through the lens of beauty and perceived inferiority. Orsino's conversation with Cesario is telling of this disparity: "There is no woman’s sides / Can bide the beating of so strong a passion / As love doth give my heart; no woman’s heart / So big, to hold so much. They lack retention" (2.4.90-93). Such lines reinforce the notion of male superiority in emotional matters. The rigid gender identities in the text are unmistakable; however, the Globe production of "Twelfth Night" approaches these themes with a refreshing fluidity.

In the Globe's rendition, traditional gender roles are subverted by employing an all-male cast, where men adeptly assume female roles. This choice not only challenges the perception of gender identity but also brings forth a dynamic interpretation of the play. As noted by critic James C. Bulman in his article “Bearding the Queen: Male Cross-Dressing at the New Globe,” the effectiveness of male actors in female roles is demonstrated through performances such as Rylance’s portrayal of Cleopatra, where he achieves feminine exaggeration despite biological limitations. Bulman concludes that "gender might be a cultural construct, and sexual desire dependent on forces other than biological difference" (75). This insight suggests that gender identity in performance can transcend traditional norms, focusing instead on the authenticity and skill of the portrayal.

Societal Implications and Audience Perspectives

While Bulman’s analysis celebrates the innovative casting choices at the Globe, it also raises questions about societal acceptance of such roles. If I were to produce "Twelfth Night," I would opt for a traditional cast, featuring both men and women, to accommodate diverse audience perspectives. Despite growing acceptance of non-traditional casting, societal stereotypes persist, often associating female roles with women and male roles with men. These ingrained views could hinder some audience members from fully appreciating the play's narrative, diverting their attention to gender identity rather than the story's essence.

The primary objective of any theatrical production is to engage and entertain the audience while conveying the play's central themes and lessons. An all-male or all-female cast with cross-dressing, although innovative, might distract viewers from the storyline, particularly if they focus on gender dynamics rather than the plot. However, if the audience comprises younger, more open-minded individuals, an all-male or all-female cast could indeed enhance the performance by challenging their perceptions and expectations.

Moreover, the performers' adaptability is a crucial factor. If actors struggle with cross-dressing roles, it may detract from their performance, suggesting that a traditional cast could be more effective. Conversely, if they embrace such roles seamlessly, gender-bending casting could offer a richer experience, highlighting the versatility of theatrical interpretation.

Conclusion

Growing up in a world where traditional views still hold sway has enabled me to observe the tension between evolving societal norms and established conventions. While society today is more inclusive and accepting, gender identity continues to influence theatrical productions, sometimes enhancing and at other times detracting from the performance. The audience's personal values and openness to change play a significant role in their enjoyment of the play.

Ultimately, the content and quality of a production should remain paramount. Although not everyone may embrace the portrayal of gender roles, the play's narrative and execution are of utmost importance. As illustrated by the written "Twelfth Night," its Globe production, and Bulman’s critique, gender identity will invariably impact theatrical interpretations, even as the world progresses. By acknowledging and navigating these complexities, productions can both honor tradition and embrace modernity, offering audiences a multifaceted theatrical experience.

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