Because many Shakespeare’s plays could not hide the fact that it was a male playing a female, it “regarded as convincing and taken seriously. In our own theatres, by contrast, male cross-dressing invariably threatens to provoke the nervous laughter that arises from contemporary anxieties about masculine sexual identity” (Rackin, 74). When people see two boys acting on stage holding hands and pretending or actually kissing, it creates an idea of homosexuality or bisexual desire. When a man has to act like a women on stage, he has to imagine and show the real tears that are unsuitable for men. Also, their physical appearance had to promise that it would not misunderstand their social identity and status. Therefore, the double-cross of the garments in the theater was considered to be a change of sexual
Because many Shakespeare’s plays could not hide the fact that it was a male playing a female, it “regarded as convincing and taken seriously. In our own theatres, by contrast, male cross-dressing invariably threatens to provoke the nervous laughter that arises from contemporary anxieties about masculine sexual identity” (Rackin, 74). When people see two boys acting on stage holding hands and pretending or actually kissing, it creates an idea of homosexuality or bisexual desire. When a man has to act like a women on stage, he has to imagine and show the real tears that are unsuitable for men. Also, their physical appearance had to promise that it would not misunderstand their social identity and status. Therefore, the double-cross of the garments in the theater was considered to be a change of sexual