Throughout both the film Tootsie and Shakespeare’s As You Like It, the idea of gender crossover is used, and while the idea of gender itself is examined, this crossover’s affect on love relationships is the main focus. Both Michael Dorsey and Rosalind, the protagonists of their respects works, pretend for a short time to be the opposite gender. Both are also in love with someone who, for the time being, is the same gender as they are – Michael falls in love in his disguise, while Rosalind falls in love beforehand. In neither instance of crossover is the reason for the change based on more than necessity – Michael needs a job, Rosalind needs the security of being a man out in the world. Though both characters begin to understand the more
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Rosalind’s original decision to dress as a man when she flees with Celia, is based on the freedom and safety that will be granted to her if she travels as a man. “Now we go in content / To liberty, and not to banishment,” Celia states, concluding the first act (As You Like It I.iii.144-145). Though mere moments before Rosalind and Celia had been fretting about the dangers of the road as mere women, as soon as Rosalind makes this decision, the world opens up to them. Almost as soon as the pair reaches the Forest of Arden, they buy property, something they would never have been able to do as women. Rosalind and Celia’s personalities become stronger and they become more independent – Rosalind’s crossing has given them the opportunity to be independent agents, not relying on men. Though it would seem the contrary, Michael’s life as Dorothy also gives him more freedom. Liberated from his male persona, Michael is able to get away with voicing his opinions on Southwest General and is able to apologize to the director to get his way, something he had never been able to do as a man. Even though he is a woman in a sexist environment, he his more agency as well – he is finally allowed to make decisions about his acting. Just like in their nonromantic lives, the crossover gives …show more content…
Michael’s antics – his struggle to walk in heels, his wide-eyed description of women shopping – all serve to keep stereotypes from being too badly broken. “Do you not know I am a woman?” Rosalind reminds the audience (III.ii.253-253). Crossing the gender boundary, in these two cases, leads to closer, more balanced relationships and a better understanding of the other person. Both Tootsie and As You Like It, though, end by patching things up again. However unconventional Rosalind and Orlando or Michael and Julie’s future relationships might be, they are still relationships between a man and a woman, no crossing over anymore. Neither work is willing to push the gender crossover to the extreme, where it might be permanent – still, both are remarkably subversive of gender stereotypes at moments and place real value on what can be learned from the experience of crossing
Rosalind’s original decision to dress as a man when she flees with Celia, is based on the freedom and safety that will be granted to her if she travels as a man. “Now we go in content / To liberty, and not to banishment,” Celia states, concluding the first act (As You Like It I.iii.144-145). Though mere moments before Rosalind and Celia had been fretting about the dangers of the road as mere women, as soon as Rosalind makes this decision, the world opens up to them. Almost as soon as the pair reaches the Forest of Arden, they buy property, something they would never have been able to do as women. Rosalind and Celia’s personalities become stronger and they become more independent – Rosalind’s crossing has given them the opportunity to be independent agents, not relying on men. Though it would seem the contrary, Michael’s life as Dorothy also gives him more freedom. Liberated from his male persona, Michael is able to get away with voicing his opinions on Southwest General and is able to apologize to the director to get his way, something he had never been able to do as a man. Even though he is a woman in a sexist environment, he his more agency as well – he is finally allowed to make decisions about his acting. Just like in their nonromantic lives, the crossover gives …show more content…
Michael’s antics – his struggle to walk in heels, his wide-eyed description of women shopping – all serve to keep stereotypes from being too badly broken. “Do you not know I am a woman?” Rosalind reminds the audience (III.ii.253-253). Crossing the gender boundary, in these two cases, leads to closer, more balanced relationships and a better understanding of the other person. Both Tootsie and As You Like It, though, end by patching things up again. However unconventional Rosalind and Orlando or Michael and Julie’s future relationships might be, they are still relationships between a man and a woman, no crossing over anymore. Neither work is willing to push the gender crossover to the extreme, where it might be permanent – still, both are remarkably subversive of gender stereotypes at moments and place real value on what can be learned from the experience of crossing