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Historical precedents: women unmasked

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Acting Women

Part of the book series: Women in Society ((WOSOFEL))

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Abstract

The acting profession of the classical Greek period, linked as it was to religious festivals, was one of both privilege and good repute. Greek actors played an honoured role in the practice of the state religion, and as a result they often received special rewards for their performances.

The whole of her bodily beauty is nothing less than phlegm, blood, bile, rheum, and the fluid of digested food … If you consider what is stored up behind those lovely eyes, the angle of the nose, the mouth and cheeks you will agree that the well-proportioned body is merely a whitened sepulchre. (St. John Chrysostom, fifth Century)

There is yet another reason why the women did not wear masks—namely, that no mask could ever approach the enchanting effect of a lovely woman’s face, whose beauty was obviously the chief requisite of her role. (Pierre Louis Duchartre, The Italian Comedy, 1929)

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Notes

  1. Richard Rastall in his article on ‘Female Roles in All-Male Casts’ provides a variety of evidence for voice changes in pubescent boys occurring much later than today. One of his sources is S. F. Daw’s statistical analysis and investigation into the boys’ choirs under Bach, entitled ‘Age of Boys’ Puberty in Leipzig 1727–49, as Indicated by Voice Breaking in J. S. Bach’s Choir Members’, Human Biology, 42 (1970).

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  2. Lynette R. Muir (1985) describes how in the Passion Play at Oberammergau (which had been celebrated once nearly every decade since 1634) the Virgin Mary is played by an adolescent boy younger than the actor playing Christ, and that still no married women perform in these productions (p. 110).

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  3. Meg Bogin (1976, p. 22) describes how the Emperor Justinian was influenced by his wife, Theodora, in compiling the Code of Justinian. Theodora had been an actress and the Emperor had to change the law to marry her.

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  4. For more discussion on the position of women among the Cathars see Marina Warner’s (1978) book on the Virgin Mary (pp. 143–4)

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  5. and for an account on the secular literary movement of the troubadours see Meg Bogin’s chapter entitled ‘Courtly Love: A New Interpretation’ (1976, pp. 37–61).

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  6. Carol Neuls-Bates (1982, p. xii) points out the effect that the ban against women performers had on both male and female singers: the number of castrati increased and singing roles for women in opera were virtually unavailable until the late eighteenth century.

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© 1990 Lesley Ferris

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Ferris, L. (1990). Historical precedents: women unmasked. In: Acting Women. Women in Society. Palgrave, London. https://doi.org/10.1007/978-1-349-20506-6_3

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