HALF-TITLE......Page 2
TITLE......Page 3
COPYRIGHT......Page 4
DEDICATION......Page 5
CONTENTS......Page 7
VARIETIES OF SHAKESPEAREAN ILLUSION......Page 14
BACCHIC RITES AND WRONGS......Page 16
DIFFERENCE AND MEANING IN PERFORMANCE......Page 19
CONTROVERSIES AND CONUNDRUMS......Page 22
THE COLLECTION: A MULTI-VOCAL REPERTOIRE......Page 26
NOTES......Page 30
2 CROSS-DRESSING, THE THEATER, AND GENDER STRUGGLE IN EARLY MODERN ENGLAND......Page 32
NOTES......Page 53
WOMENโS PARTS PLAYED BY MEN IN THE ROMAN THEATER......Page 64
THE LEGACY OF GOETHEโS MIMETIC STANCE......Page 67
NOTES......Page 73
I......Page 74
II......Page 78
III......Page 84
IV......Page 88
V......Page 90
NOTES......Page 93
I......Page 95
II......Page 97
III......Page 103
NOTES......Page 108
6 THE TRAVESTY DANCER IN NINETEENTH-CENTURY BALLET......Page 110
NOTES......Page 118
7 โIโM THE QUEEN OF THE BITCHESโ......Page 120
NOTES......Page 131
8 SLIDING SCALES......Page 144
AN INTRODUCTION TO THE JEWEL BOX REVUE......Page 145
A BRIEF HISTORY OF THE (FEMALE) INVERT, WITH A CONSIDERATION OF HER IMAGE ON THE CONTEMPORARY STAGE......Page 148
THE JEWEL BOX REVUE, GENDER IMPERSONATION, AND THE INVERT......Page 151
NOTES ON THEORIZING INVERSION AND IDENTITY......Page 158
GYMNASTICS OF LOGIC......Page 161
NOTES......Page 162
9 ITโS NEVER TOO LATE TO SWITCH......Page 166
I WOULDNโT WANT TO BELONG TO A CLUB THAT ACCEPTS PEOPLE LIKE ME AS MEMBERS: EVE MERRIAMโS THE CLUB......Page 168
PASSING NARRATIVE: SIMONE BENMUSSAโS THE SECRET LIFE OF ALBERT NOBBS......Page 170
THE DRAG THAT IS NOT ONE: HOLLY HUGHESโS THE LADY DICK......Page 172
PERFORMING GENDER: SPLIT BRITCHES AND BLOOLIPSโS BELLE REPRIEVE......Page 174
NOTES......Page 175
I......Page 176
II......Page 179
III......Page 180
IV......Page 185
V......Page 187
NOTES......Page 189
BIBLIOGRAPHY......Page 191
INDEX......Page 211