In terms of my discussion of cross-gender performance as applied to Shakespeare, it needs to be rooted in an analytical framework that can help to unpack cultural notions of gender and gender-biased assumptions, identify the policing agents of gender and prescriptive ideologies, deconstruct articulations of gender in terms of social and theatrical acts and investigate reconstructions on differently configured bodies and in non-normative play in front of audiences. In order to facilitate such a discussion I have turned to key gender theorists, beginning with feminist theories, such as introduced by early feminist scholars (de Beauvoir, Dworkin and West) and newer, arguably also queer and liberal, stances made by Butler, Halberstam and Bornstein.
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