Jonah Patel
In Twelfth Night, Shakespeare explores the interplay and ambiguity of gender and sexuality through the use of costumes and disguises. The protagonist Viola's decision to dress as a man named Cesario sets off a chain of mistaken identities and sexual confusion, as she becomes entangled in a love triangle with Olivia and Orsino. This cross-dressing motif not only creates comedic situations but also raises questions about gender identity and the performance of gender. Other characters, such as Malvolio and Feste, also use costumes to assume new identities, further highlighting the theme of identity construction through costume choices. Thus, the costumes in Twelfth Night serve as a symbol of the fluid nature of identity and the complexities that arise when individuals take on different personas.
| Characteristics | Values |
|---|---|
| Costumes represent identities that people take on | Characters wear disguises and assume different identities |
| Characters' identities change in different situations | Viola disguises herself as a man, creating a love triangle with Olivia and Orsino |
| The importance of clothing is not just in how others perceive it | Feste dresses as Sir Topas, assuming a new identity |
| Costumes create instances of mistaken identity | Viola is mistaken for her brother Sebastian, and vice versa |
| Cross-dressing highlights gender identity and alternative sexualities | Viola's love is seen as pure, breaking gender barriers |
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What You'll Learn
How do costumes shape identity in Twelfth Night?
In Twelfth Night, costumes are used to shape identity and drive the plot. The characters' attire often represents different identities that they take on, reflecting how a person's identity can change in different situations. This is most notably seen through the character of Viola, who disguises herself as a man named Cesario, creating a complex love triangle with Olivia and Orsino. This cross-dressing creates endless sexual confusion and highlights the interplay and ambiguity of gender and sexuality.
Viola's male attire leads to mistaken identities, with her being mistaken for her brother, Sebastian, and vice versa. This confusion is central to the comedic and tangled plot of the play. By dressing as a man, Viola also falls in love with another man, Orsino, while being the object of Olivia's affection, further complicating the relationships in the play.
The costume and disguise are not just plot devices but also carry symbolic weight. They represent the fluidity of identity and how it can be shaped and manipulated through external factors. This is evident in the case of Malvolio, who puts on crossed garters and yellow stockings in the hope of winning Olivia's affection. Feste's disguise as Sir Topas, even when Malvolio cannot see him, suggests that the importance of clothing goes beyond mere visual identification. The disguise completes Feste's assumption of a new identity, highlighting the performative nature of identity.
Through the use of costumes and disguises, Shakespeare explores the complexities of identity, particularly gender identity, and the ways in which it can be performed and perceived. The play challenges societal norms and expectations of the time, presenting a woman dressing as a man and falling in love with another man. This blurs the lines between traditional gender roles and identities, inviting the audience to question and reflect on the nature of identity and its relationship to external factors, such as costume and appearance.
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How do Viola's costumes impact her identity?
In Shakespeare's comedy Twelfth Night, Viola, the protagonist, disguises herself as a young man named Cesario. This disguise is a pivotal moment in the play as it sets the plot in motion and impacts Viola's identity in several ways.
Firstly, Viola's male attire allows her to survive in a male-dominated world. After being shipwrecked on the coast of Illyria, Viola is alone and assumes a male identity to secure a position working for Duke Orsino. This disguise provides her with protection and a means to make a living. It grants her a level of freedom and agency that would have been difficult for her to attain as a woman during that time period.
Secondly, Viola's costume creates a complex identity crisis that becomes central to the play's plot. Her male disguise leads to mistaken identities, with characters such as Sir Toby, Sir Andrew, and Olivia mistaking her for her twin brother, Sebastian. This confusion is heightened by the arrival of Sebastian, who is also mistaken for Viola (Cesario). The mounting identity crisis reaches its climax when Viola finds herself surrounded by people who have different perceptions of her, none of whom are aware of her true identity.
Additionally, Viola's costume impacts her romantic relationships and expressions of love. Olivia falls in love with Viola, believing her to be a man, creating a tangled love triangle. Viola herself falls in love with Duke Orsino but must keep her feelings hidden due to her disguise. This unrequited love reflects Viola's own situation, as her love for Orsino seems hopeless while she is disguised as a man.
Viola's costume also provides her with a unique outsider perspective. Through her disguised identity, she gains insight into the characters of Lady Olivia and Duke Orsino. She is able to comment on societal norms and argue for the equality of women's love, subtly expressing her own feelings in the process.
Finally, Viola's costume contributes to the theme of sexual confusion in the play. By dressing his protagonist in male garments, Shakespeare creates a dynamic where the sexual and romantic attractions between the characters are blurred and ambiguous. This confusion adds a layer of complexity to the relationships between Viola, Olivia, and Orsino, making their interactions fraught with misunderstanding and miscommunication.
In conclusion, Viola's costumes in Twelfth Night have a significant impact on her identity. They allow her to navigate a male-dominated society, provide her with a means of protection and employment, and grant her a unique perspective on societal norms. However, they also create a complex identity crisis, entanglements in romantic relationships, and sexual confusion among the characters. Ultimately, the impact of Viola's costumes on her identity drives the plot of Twelfth Night and contributes to the play's exploration of love, identity, and gender dynamics.
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How do costumes affect the plot?
Costumes play a pivotal role in the plot of "Twelfth Night," driving the narrative twists and comedic confusion that are central to the play. Here's how costumes affect the plot in several key ways:
The most prominent example of the impact of costumes on the plot is through Viola's disguise as a man, Cesario. This cross-dressing creates a complex love triangle between Viola, Olivia, and Orsino. Olivia falls in love with Viola, believing her to be a man, while Orsino is attracted to Viola despite thinking she is a man. Viola herself falls in love with Orsino, further complicating the situation. This costume-driven deception forms the core of the play's romantic entanglements and provides a source of humour and intrigue.
Viola's costume not only impacts the plot but also becomes a central aspect of her identity within the play. As she navigates her male disguise, Viola must simultaneously embody her true self and the fictional identity of Cesario. This dual existence, facilitated by her costume, becomes a defining characteristic of her character and influences her interactions with others.
The costumes and disguises in "Twelfth Night" extend beyond Viola. For instance, Malvolio dons crossed garters and yellow stockings, hoping to win Olivia's favour. Feste, on the other hand, dresses up as a priest, Sir Topas, when he speaks to Malvolio in a dark room, even though Malvolio cannot see him. This underscores the idea that the importance of clothing goes beyond mere visual perception and is integral to the assumption of new identities.
The prevalence of disguises and costumes in the play leads to instances of mistaken identity, which further complicate the plot. Viola's male attire causes her to be mistaken for her brother, Sebastian, and vice versa. This confusion is central to the plot's progression, as the tangled web of mistaken identities can only be unravelled when Viola and Sebastian appear together, revealing the truth.
Through these costume-driven plot twists and turns, Shakespeare explores themes of identity, gender, and sexuality. The interplay between gender ambiguity and sexual confusion adds depth to the comedic elements of the play. The use of costumes to shape character identities and drive the narrative demonstrates Shakespeare's mastery in exploiting the theatrical nature of disguise to create a captivating and complex plot.
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How do costumes shape gender identity?
In Shakespeare's "Twelfth Night," costumes play a pivotal role in shaping gender identity and the ensuing interplay of gender and sexuality. The character of Viola, who disguises herself as a man named Cesario, is a prime example of how costumes can influence and shape gender identity within the play. By donning male attire, Viola not only convinces those around her of her male identity but also becomes a vehicle for exploring the complexities of love and identity in a society where gender norms are rigid.
Viola's costume choice has a profound impact on the relationships she forms, leading to a "merry-go-around of relationships" that are built on a lie. Olivia, for instance, is attracted to Viola, believing her to be a man, while Viola herself falls in love with Orsino, who thinks of her as a man. This complex web of attractions and deceptions highlights how costumes can shape gender identity and, in turn, influence the dynamics of love and desire.
Beyond Viola's story, other characters in "Twelfth Night" also use costumes to shape their gender identities and navigate the societal expectations of their time. Feste, for instance, dresses as the priest Sir Topas, assuming a new identity that goes beyond mere clothing. This act of dressing up is not just for the benefit of others, as Malvolio, locked in a dark room, cannot see Feste but still experiences the impact of his costume. The act of donning a costume becomes a performance of identity, a theme that feminist theorist Judith Butler explores in "Gender Trouble," where she posits that "gender is not only a social construct but also a kind of performance, a show we put on, a costume or disguise we wear."
In the context of Elizabethan theatre, where male actors often played female roles, the very performance of gender becomes an act of exploration and subversion. The audience is invited to consider the constructed nature of gender and the ways in which costumes and performance can both reveal and conceal true identities. "Twelfth Night" thus uses costumes not merely as a superficial layer but as a tool to delve into the complexities of human identity, challenging societal norms and presenting a more nuanced understanding of the relationship between costume, gender, and self.
In conclusion, costumes in "Twelfth Night" serve as a powerful tool for shaping and challenging gender identities. Through characters like Viola and Feste, Shakespeare explores the ways in which costumes can both conceal and reveal, blurring the lines between masculine and feminine and inviting audiences to question the very nature of identity and its relationship to external appearances.
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How do costumes shape sexuality?
In Twelfth Night, costumes play a pivotal role in shaping the characters' sexualities and relationships. The play's central premise involves a woman, Viola, disguising herself as a man, Cesario, which immediately introduces a layer of sexual complexity to the narrative. This cross-dressing motif not only challenges societal norms of the time but also creates a tangled web of romantic attractions and misunderstandings.
Viola's male attire shapes her identity in the play. By adopting male clothing, she navigates a predominantly male world, challenging the traditional gender roles of the Elizabethan era. This costume choice allows Viola to move freely in spaces typically reserved for men, granting her agency and a degree of power that would have been inaccessible to her as a woman.
The costume also influences how others perceive Viola and, more importantly, how they perceive her sexuality. To the other characters, Viola presents as a man, and this perceived maleness shapes her interactions with both Olivia and Orsino. Olivia, believing Viola to be a man, develops romantic feelings for her, creating a complex dynamic where a woman is romantically pursuing another woman, albeit unknowingly. Meanwhile, Orsino, unaware of Viola's true gender, finds himself attracted to someone he believes is a man, complicating his understanding of his own sexuality and desires.
Beyond Viola, other characters' costumes also shape their sexual identities and experiences. For example, Malvolio's decision to wear crossed garters and yellow stockings in the hope of winning Olivia's affection speaks to the notion that one's attire can be a form of self-expression and a means to attract romantic attention. Similarly, Feste's costume as the priest Sir Topas completes his transformation into this new identity, demonstrating that costumes are integral to the embodiment of alternate sexualities and identities.
Through the use of costumes, Shakespeare explores the fluid nature of sexuality and identity, challenging the rigid gender norms of his time. The costumes in Twelfth Night serve as a reminder that identity and sexuality are not static but rather complex, multifaceted, and subject to change based on the situations and relationships in which we find ourselves.
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Frequently asked questions
Costume is integral to the plot of Twelfth Night, with many characters assuming disguises that lead to mistaken identities. The protagonist Viola's male attire allows her to be mistaken for her brother, Sebastian, and vice versa, creating a tangled web of confusion that drives the play's comedy.
Viola's decision to dress as a man named Cesario is central to her identity in the play. It allows her to navigate a male-dominated world and pursue her passions, showing that true love can transcend gender barriers. However, her costume also presents a challenge as she must balance her true self with her male alter ego.
Other characters, such as Feste and Malvolio, also use costumes to adopt new identities. Feste's transformation into Sir Topas, complete with appropriate attire, allows him to fully embody this new persona, even when his disguise is unnecessary. Malvolio's costume choices, such as wearing crossed garters and yellow stockings, reflect his desire to impress Olivia and shape his identity as a suitor.
