‘And All Is Semblative a Woman’s Part’: Japan’s All-Male As You Like It

Abstract

ABSTRACT The practice of cross-gender casting, which has been a long-standing convention in Japanese theatre, has shaped the audience’s expectations of actors performing the opposite gender. Consequently, the audience’s lived experience in Japan is distinct from that of Western audiences. It is challenging to assess the kinaesthetic experience of viewers from different cultural backgrounds, given that the reception of a performance is influenced by culturally determined frames of reference. Traditional cross-gender casting relies on contrast, which may inadvertently reinforce gender stereotypes. This may be how the Japanese approach to cross-gender theatre is perceived, but the current cross-gender theatre is not constrained by the traditional forms of stylisation in male or female impersonation. Surprisingly, gender stereotyping and gender ambiguity/fluidity appear to be able to coexist in Japanese culture, which is reflected in cross-gender theatre. Following a discussion concerning the impact of gender representation in subculture and culture on contemporary Japan, I examine Studio Life’s latest Shakespeare production of As You Like It. It is noteworthy that this production does not reinforce traditional gender norms but instead challenges them, presenting a reimagined portrayal of female characters through the male body.