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演講大綱：

The cross-gender role is a staple of Shakespeare’s plays, and drama is a transitional art. All gender practices are enabled by transitional technologies of representation that are context driven. Gender is made flesh and brought into being by actors’ onstage and offstage gender expressions. Similarly, adaptations also operate transitionally and translationally. Some adaptations translate narratives into hospitable forms of expression. Other adaptations function as minor uses of established genres or better-known gender categories.

Transness is theorized in a number of modes, including composite figures in drama that arise from the convergence of a character, their curated self-image, and actors’ performance; cultural translation; stagecraft onscreen; and drama as processes of social assemblage.

This study suggests that trans-informed criticism is a care practice in an ethical framework that amplifies the sociality of gender. Care work can reshape the relationships among readers, audiences, actors, and characters. The study uses trans as method to examine literary and social processes that produce marginalized characters rather than simply to analyze those characters as a predetermined subject. Creating a new kinship and arrangement of knowledge, this book demonstrates how transness estranges social norms themselves.

This book close-reads a number of films to elucidate transitional aesthetics of Shakespeare, gender, and adaptation. The case studies see familiar Anglophone films anew and introduces lesser known, non-English films, including Stage Beauty (2004), As We Like It (2001), The King and the Clown (2005), She’s the Man (2006), and Shakespeare in Love (1998).