Catherine Hollingsworth and Rick Duerden, English Department

Introduction

The Merchant of Venice poses problems concerning the representation—a social and cultural construction—of gender and Judaism. Some critics wonder whether or not this play should be performed now: could and should modern audiences experience The Merchant of Venice? This study argues that this play should be performed today and has merit, not only for aesthetic but also for social reasons. The play forces audiences to confront how gender is represented in theatrical productions and question our own perspectives. What we gain from this experience is the following: by addressing these concerns in the play, the audience recognizes the unjust (and sometimes culturally biased) treatment of individuals in society and, consequently, learns to become a more tolerant, inclusive, and merciful society—employing the Christian mercy the play sometimes fails at but encourages.

The study of The Merchant of Venice is timelier than ever. This paper analyzes gender representation in theatrical adaptations of the play. The experiential impact of theatre can change the way modern audiences view the sexes. In turn, modern interpretations and re-interpretations should be analyzed to determine how characters are represented. Through analyzing these productions, all people—Christians and Jews, men and women—can learn how to steer clear of hatred and reflect on higher values of human solidarity.

Methodology

I researched issues of theatrical setting, costuming, and historical context and how these topics influence the depiction of character and audience reaction. My methods included reading the original play and watching the theatrical adaptations. I traveled to England and researched in London at the Globe Theatre Archive and in Stratford-upon- Avon at the Shakespeare Birthplace Trust.

Results

As a result of writing and researching, I was able to focus my topic on gender representation in theatrical productions from 1998 to 2015. My title changed from to “‘All that glisters is not gold’: Gender Representation and Theatrical Performances of The Merchant of Venice from 1998 to 2015.” Throughout the paper, readers learn about the details about each production, how different interpretations and performances bring insight to the play, and that productions represent gender differently, which reveals meaning and values of our culture today.

As we consider the time period when this play was written, Shakespeare seems quite progressive, perhaps even subversive (following Bakhtin’s cultural criticism) with The Merchant of Venice because of his complex gender representation and characterization; therefore, despite the continuing argument of whether or not this play should be performed any more, this play should still be read, produced, and watched. We need to see complex relationships and strong female characters like Portia and Nerissa. But, perhaps even more importantly, we need to see strong female relationships that do not talk about only men but also reveal the fluidity of identity and gender. The sororal friendship between Portia and Nerissa escapes the binding limits of time, encapsulating the vast meaning for what it means to be human. The play continues to appeal to audiences and readers today and, despite the anti-Semitic and misogynistic overtones, the play is still read and performed. One of the most important scenes is when they talk about cross-dressing, thus revealing the important of accepting and tolerating gender fluidity and different gender representations. Their skill in law and courtroom performance proves that Nerissa and Portia are independently masterful of the men in their lives. The perspectives of these two phenomenal friends help to shape our perspective of what it means to be human, thus influencing readers and audiences alike for hundreds of years. As the Prince of Morocco states, “All that glisters is not gold” (2.7.69), which could be said of this play, as well. This play and these characters glister with brilliant lines, but not all of it is not gold, with issues of gender and religion. Despite its flaws, as we study this play and continue to perform and to watch performances, we can find gold tidbits of truth worth investigating.

I have seen great results thus far because I received the ORCA grant. I had the opportunity to present in the BYU English Symposium. Additionally, because of the research I was able to accomplish while in the United Kingdom, I have written over one hundred pages about the performances in The Merchant of Venice. I continue to work on writing my paper.

Discussions

Discussing ideas with my mentor, Dr. Rick Duerden of the English Department, was always wonderful because of his support and encouragement. Finding times to meet with each other was difficult because of my work and class schedule, but I am incredibly grateful to have had the opportunity to work and study with him.

Conclusion

I grew personally by learning more about how to conduct research in non-traditional settings. Researching at the Globe and the Shakespeare Birthplace Trust helped me become a better scholar. Also, travelling internationally is a unique experience in and of itself that helped me develop confidence in myself. Thank you so much for donating funds for my ORCA project. Having the opportunity to study Shakespeare and his work in greater detail influenced me personally and as a scholar in my studies as an English major.