Although stereotypes did not exist in Shakespeare’s time, they do derive from history and are still visible in modern society. Every human being gets confronted with gender stereotypes in an everyday life. May it be at work, in school, in sports or politics. In addition, everyone generally knows what a stereotype is and what kind of stereotypes do apply for men and women: short hair versus long hair, trousers versus dresses, playing football versus cooking, et cetera. This paper aims at explaining what stereotypes are, in how far they are traceable in Shakespeare’s "The Taming of the Shrew" and moreover taking an outlook on why it is important to talk about stereotypes nowadays.
Shakespeare’s "The Taming of the Shrew" is considered as his most controversial play. It represents a violent patriarchy with weak and obedient women and numerous stereotypical characters regarding female and male ones. Furthermore, the play faced a lot of critics over time. Especially the feminist movement tears the play apart and speaks almost solely negatively of it. Nevertheless, the Royal Shakespeare Company dared to perform a new production of the play this year. Justin Audibert turned the play around by doing a gender swap. A gender swap comes along with breaking stereotypes, as women become men and vice versa.
More precisely, the first chapter of this paper discusses the general topic of stereotypes. It offers a definition of the term, examples as well as a short introduction into current issues around stereotypes. After discussing what stereotypes are in general, the second chapter demonstrates those in Shakespeare’s play itself. It is divided into three topics: society, manhood and womanhood. Talking about "The Taming of the Shrew"‘s society will answer the question if its context already hints at stereotypes.
The differentiation of male and female stereotypes strengthens the importance of gender in the play. In how far is gender a topic in "The Taming of the Shrew"? Are there exceptions to be made or is every character clearly to be categorized? Lastly, a look on this year’s Royal Shakespeare Company production of the play offers an outlook on the current situation of the perception of stereotypes. Is it still a topic worth to consider and do stereotypes still exist in our society? Furthermore, the chapter answers the question in how far Audibert’s gender swap worked.
Table of Contents
1. Introduction
2. What are stereotypes?
3. Stereotypes in The Taming of the Shrew
3.1. Society
3.2. Dominance of manhood
3.3. Subordinate womanhood
4. Breaking stereotypes – RSC’s 2019 production
5. Conclusion
Objectives and Topics
This academic paper examines the manifestation of gender stereotypes within William Shakespeare's "The Taming of the Shrew," analyzing how patriarchal structures and traditional gender roles shape the characters and the narrative. Furthermore, it explores the contemporary relevance of these stereotypes by investigating the Royal Shakespeare Company’s 2019 gender-swapped production, questioning whether such reinterpretations effectively challenge or merely mirror ingrained societal prejudices.
- Definition and psychological framework of stereotypes.
- Analysis of patriarchal societal norms in the Renaissance era.
- Character-specific investigation of male dominance and female subordination.
- Evaluation of the 2019 RSC gender-swapped production as a subversion technique.
- Discussion on the persistence of gender roles in modern society.
Excerpt from the Book
3. Stereotypes in The Taming of the Shrew
The play not only sets during a time in which violence was very prominent but furthermore the era carries an “[…] obsession with taming unruly women […]” (Boose, The Taming 196). This already hints at a society led by a superordinate manhood. More precisely: “[…] acts of violence belong to patriarchy as surely as fathers do […]” (Cohen 1), Novy adds to this: “Fathers are clearly important in the Shrew. The word ‘father’ appears fifty-four times […]” (Novy 21). Therefore, the system of society in The Taming of the Shrew fits into the description of a patriarchy. This system strengthens the existence of stereotypical men in the play, as a stereotypical man is, like mentioned in the previous chapter, the dominant gender. Novy defines patriarchy as follows: “[…] the authority of fathers over their families, husbands over wives, and men in general over women.” (ibid. 13), therefore, a stereotypical powerful man accompanied by a weaker and subordinate woman.
Another aspect which highlights the general supremacy of men in The Taming of the Shrew is the concept of marriage. Marriage in the play has little to do with love and emotions, but merely with business and money (cf. Hibbard 145). Kate states in act three, scene two: “No shame but mine, I must forsooth be forced / To give my hand opposed against my heart […]” (Shakespeare 3.2.8-9), here she highlights the fact, that her marriage will have nothing in common with her emotions. It also shows that every step, from choosing the man up to the actual life as a wife, lays within male hands. Very early in the play Hortensio says: “He that runs fastest gets the ring” (ibid. 1.1.135), which already takes away Bianca’s agency and freedom of choice. In addition, Baptista, father of Kate and Bianca, finally chooses whom they shall marry (cf. ibid. 2.1.387-388), as Hibbard goes further by saying: “[…] marriages were arranged by parents, and it was a matter of prestige as well as of prudence to see that daughters were provided with husbands of a suitable status and income” (Hibbard 142).
Summary of Chapters
1. Introduction: The introduction outlines the persistence of gender stereotypes in history and modern life, establishing the paper’s goal to trace these patterns in Shakespeare’s work and a modern theatrical reinterpretation.
2. What are stereotypes?: This chapter defines stereotypes as oversimplified, often negatively connotated associations, exploring how they distort gender perception from an early age and create cognitive gaps between men and women.
3. Stereotypes in The Taming of the Shrew: This section performs a deep dive into the play's patriarchal setting, focusing on marriage as a business contract, the dominance of male characters like Petruchio, and the enforced subordination of female characters like Kate and Bianca.
3.1. Society: This section analyzes how the play’s internal social structure functions as a patriarchy where fathers and husbands hold absolute authority over women, framed primarily through economic and power-based dynamics.
3.2. Dominance of manhood: This section characterizes the male figures, specifically Sly, Baptista, and Petruchio, identifying them as stereotypical manifestations of patriarchal power, violence, and economic opportunism.
3.3. Subordinate womanhood: This section contrasts the obedience of Bartholomew and Bianca with the initial resistance of Katherine, examining how the play ultimately forces women into objectification and submissive roles.
4. Breaking stereotypes – RSC’s 2019 production: This chapter analyzes Justin Audibert's gender-swapped production, discussing whether flipping the traditional power dynamic effectively deconstructs stereotypes or highlights the inherent violence within the original material.
5. Conclusion: The conclusion synthesizes the findings, noting that while the play and its modern adaptation offer different perspectives on gender, they both demonstrate the deeply ingrained nature of stereotypes and the ongoing difficulty of overcoming them.
Keywords
The Taming of the Shrew, William Shakespeare, gender stereotypes, patriarchy, manhood, womanhood, submissive, dominance, Royal Shakespeare Company, Justin Audibert, gender swap, marriage, feminism, social roles, violence.
Frequently Asked Questions
What is the primary focus of this paper?
The paper explores how gender stereotypes are embedded within Shakespeare's "The Taming of the Shrew" and examines their enduring presence through a modern lens.
What are the core thematic areas discussed?
The central themes include the psychological definition of stereotypes, the nature of a patriarchal society, the contrast between male dominance and female subordination, and the effects of subverting these roles.
What is the research goal?
The goal is to analyze the extent to which characters in the play are defined by stereotypical roles and how these patterns are challenged or reinforced in the Royal Shakespeare Company’s 2019 production.
Which scientific methodology is applied?
The paper utilizes a literary analysis approach, combined with the application of psychological concepts regarding stereotypes and the evaluation of contemporary theatre reviews and criticism.
What does the main body cover?
The main body breaks down the play into society, manhood, and womanhood, followed by a critical assessment of a gender-swapped theatrical production to see if it effectively breaks these stereotypes.
Which keywords best describe the paper?
Key terms include patriarchy, Shakespeare, gender stereotypes, submissive, dominance, gender swap, and feminism.
How does the 2019 RSC production change the interpretation of the play?
By swapping the genders of the characters, the production forces the audience to view traditional acts of domestic dominance and violence from a new perspective, though the paper notes it remains controversial.
Does the author believe the gender swap solves the problem of stereotypes?
The author suggests the effect is dubious; while it highlights the danger of stereotypes, it also raises questions about whether the audience is laughing at the subversion or at the domestic violence itself.
What role does the final monologue of Katherine play in the author's analysis?
The author uses this monologue to demonstrate how Katherine has been fully tamed and reduced to a stereotypical, obedient object, reinforcing the play's patriarchal conclusion.
- Quote paper
- Nicole Piontek (Author), 2019, Gender Stereotypes in Shakespeare’s "The Taming of the Shrew", Munich, GRIN Verlag, https://www.hausarbeiten.de/document/1168355
