Theater and Sexuality

Theater and Sexuality

Considering the history of the theater, it is imperative to note that acting was purely a male affair in the Ancient Greek and Rome. It was a similar case for Medieval Europe because there was a lesser organization in theatrical activity as compared to the modern times. In most instances, a man on the stage symbolized power and masculinity (Franklin 26). They acted as intellectuals, victorious soldiers, and conquerors. At the same time, some men were assigned the roles of female characters, where dresses and other feminine costumes were used.  However, men poorly represented the traits of women due to a little understanding on women’s issues and behavior.   As the industry grew, the roles of men transformed between different periods of time. Men represented knights in the medieval era and hero lovers in the era of romanticism. On the other hand, the image of women changed less dramatically due to gender inequality and suppression of women. It was not until early in the 20^th Century when women participated in the theatrical activity.  Consequently, the century saw an explosion in the industry due to unprecedented creativity and talent exhibited by the women as actors.

In Japanese Kabuki theater, all the acting roles (including those of women) were played by males, though women founded the theater. One of the founders was Perches. She was the sanctuary’s servant in late 17^th Century. After a few years, despite the exemplary performance due to the inclusion of females, the Japanese leaders were dissatisfied with the theater’s atmosphere. As a result, the emperor proposed that young men should replace women in Kabuki theater (Robertson 421).  The near collapse of the theater in the subsequent years sounded an alarm on the importance of women in acting. Kabuki theater witnessed acute failures that led to drastic fall in the number of audiences. The development was mainly attributable to the poor representation of female characters by male actors. In the modern times, the tradition has been abandoned because numerous troupes women are allowed to play female roles. Because of this, Kabuki theater is regaining its global audience.

At the dawn of the modern era, it was an abomination for women to act professionally in plays performed by established theater firms. In the Papal States, for instance, a decree was issued to forbid women to act in public, thus limiting chances of improvement and innovation in the industry until the 19^th Century (Gilman 205). When Italian organizations traveled to Western Eurasia, the use of actresses on stage became a common phenomenon.  It marked a beginning of a new age as the society understood the importance of actresses in improving the nature of performance. Women introduced a new taste that captured the emotions of the audience. It became easier for people to follow up the story of women and their struggle in the society because most of the acts that women participated were themed on female empowerment.  Experts attribute this diversion from the norm to the growth and expansion of film industry. Women performed successfully as dancers and singers, their physical traits allowed them to demonstrate different styles of dances and exemplary talents in singing otherwise impossible if done by males. Still, Audiences in theaters of Medieval Europe did not experience participation of women actresses in the public until decades later.

Scholars and society members assumed that English theaters maintained all-male crew because of general tolerance to homoeroticism and the widespread fear of female sexuality. Puritan mind and religious borders convinced English authorities on the need to refrain women from engaging in female art. Thus, cross-gender casting gained prominence. What the authorities did not realize is that if women actresses were not admitted, the size of the female population in the audience will fall sharply, hence hindering the development and growth of theater. Keeping females off the stage was not only a way to prevent women from showcasing their artistic skills but also, the leaders intended to keep them as subservient. The malicious intention is becoming even clearer today as the industry grows at a rapid pace.

Crossdressing by men when performing female roles for distinction signaled homosexuality. People that opposed homosexuality became disinterested in observing plays where men acted as women. In the long run, the society rejected plays, thus prompting the introduction of actresses in many theaters in the Western world. Repealing age-old rules and embracing change has contributed to creativity and development in theaters across the globe. In fact, it is hard for all-male films to succeed in the modern world unless several characters are females.

A man playing a female role in a theater does not represent the reality. Therefore, this falls short of the audience’s expectation. In the past, repeated instances of male actors taking up the roles of women led to a less enthusiastic audience. Given that a larger audience translated to more revenue, the event organizers had no alternative other than to honor the demands of the audience. Gradually, women took up their rightful roles as actresses which resulted in larger audience and better income for the theater owners and film companies. Eventually, the resources were reinvested in improving the stage performance and creativity, hence yielding the observed growth (Machera 162).

The roles that women and men play in the theater are subject to continuous evolution because of the influence of the existing social values and the demands of the market. In the planet today, the population of men and women are nearly equal. Therefore, the roles and occupations in the film industry and other sectors should be shared equally to ensure fair representation. In this way, development and equal prosperity can be guaranteed. It is interesting to note that in the past, male chauvinistic societies that suppressed women and the people of color dominated the western world as reflected in early theaters. It took hundreds of years for women to launch a successful campaign for equal treatment in the industry. One of the fruits of their hard work and creativity is seen in the current success and improvement in the sector. However, there is still a room for improvement to normalize male dominance in other occupations within the film and theater sector.

Still today, filmmakers and theater directors use gender stereotypes so that the viewers can easily recognize and relate to the characters. For instance, the actors portray the image of an individual or a group of people whose characteristics are easily identifiable. Of keen to note is that the main focus of theater and film industry is to entertain the audience. A goal such as this cannot be attained unless the directors and actors maintain their creativity to defy expectations.

Since the women movement that took place in the 1960s, theaters have been populated with hundreds of female actors because of a looming threat of boycott. The rule of democracy in the west allow for protests that pressurize theater authorities to improve service delivery and to incorporate more female roles that can be assigned to actresses (Yarbro-Bejarano 402). Besides, education plays a fundamental role in imparting the necessary skills and knowledge to future actresses. In the past, education and most of the fundamental human rights were restricted to the male population. Over the past two centuries, such stereotypes have changed for the better. Today, female gender enjoys equal rights and treatment as compared to men. Indeed, women are not confined to household chores. Not only can women participate in theaters as actresses, they can also form part of the audience. On the other hand, men have learned from the mistakes of their ancestors. They are more aware of the importance of women in the film industry and their overall contribution towards its development. 

The society accepts women as part of the entertainment team (Dolan 172). A development such as this is vital in ensuring that the women become self-confident and motivated to participate as actresses. As more people become interested in acting career, competition sets in among the actors (men and women). Similar to other industries, positive competition in showbiz industry yields better performance and success as observed in Hollywood.

In summary, it took the help of women to change the dynamics theater during the first half of 19^th Century. Historians argue that women were directly responsible for the rise of theater’s popularity, especially in the United States. By the year 1910, there were an upwards of 2900 theaters spread across America. At the time, many women participated as actresses and the industry produced at peak levels. In particular, disposable income and leisure time increased for American citizens, thus translating to a swelling popularity of stage performance. However, the contribution of women in the improvement of theater is often overlooked. When people of all sex were allowed to participate in plays, women scrambled for positions in chorus lines and as actresses. A sizeable number of them dreamt of stardom especially after they were granted equal rights and equal opportunities. The early 1810s saw a surge in a number of women enrolled as actresses in European theaters. Resultantly, they influenced the trends in the industry, thus injecting a new energy into the performances.

Works Cited

Dolan, Jill. "The Dynamics of Desire: Sexuality and Gender in Pornography and Performance." Theatre Journal 39.2 (2015): 156-174.

Franklin, Karen. "Enacting Masculinity: Antigay Violence and Group Rape As Participatory Theater." Sexuality Research & Social Policy 1.2 (2014): 25-40.

Gilman, Sander L. "Black Bodies, White Bodies: Toward an Iconography Of Female Sexuality In Late Nineteenth-Century Art, Medicine, And Literature."Critical Inquiry 12.1 (2011): 204-242.

Machera, Mumbi. "Opening a Can Of Worms: A Debate on Female Sexuality in The Lecture Theatre." Re-Thinking Sexualities in Africa (2014): 157-170.

Robertson, Jennifer. "The Politics of Androgyny In Japan: Sexuality And Subversion In The Theater And Beyond." American Ethnologist 19.3 (2012): 419-442.

Yarbro-Bejarano, Yvonne. "The Female Subject in Chicano Theatre: Sexuality," Race," and Class." Theatre Journal 38.4 (2011): 389-407.