b'Dissertation Extract Thomas Ryan Gunningsexual suggestiveness of the kneeling woman, grabbingnon-sexual, thus anchor[ing] sexuality, not alter[ing] its hold of the mans clothes is magnified. logic (Przybylo 2011: 452). This might be on account of the fact that I am focusing on the avoidance of body-to-What is interesting, then, are Vardevanians actions thatbody contact, which is one way an asexual might protect follow. She strides over to Angelos desk determinedly,their bodies and resist sexusociety (Przybylo 2011: 454). and after a short pause, she sits down on the chair next toNonetheless, my analysis does not deny asexualitys his desk and continues to argue verbally and intellectuallyability to queer normative sexuality because it exposes the (Shakespeare 2015a). As the scene progresses, Isabellassignifier as a site where rearticulation, and perhaps change, character can be interpreted as invariably resisting her ownis possible (Butler 2011: 166).sexualization by choosing to act differently. Isabella is seen as sitting instead of seducing and using religious referencesIn both performances toward the end of the scene between rather than sexual innuendo. Indeed, the sexualized imageAngelo and Isabella, there is a moment of bodily contact of Isabella holding onto Angelos clothes is quite subvertedand intimacy. Gale tenderly places her hand on Egyiawans as the scene reaches its climax with Vardevanian climbingchest, then moves to holding his hand urging him to ask onto the desk, grabbing Kuzichev by the front of his suit[his] heart what it doth know/Thats like [her] brothers in a final violent outburst. In this instance, we see Isabellasfault (Shakespeare 2015b), and Vardevanian after it body reterritorialized through what Przybylo concludes toappears she has failed to persuade Angelo, is pushed back be asexualitys transformative potentialto repeat [sexualon by Feklistov, and she kneels down and kisses Kuzichevs scripts] differently [and] plurally (2011: 457).hand before announcing Hark; how Ill bribe you (Shakespeare 2015a). Considering what I have discussed Similarly, in the Globe Theatres production of Measurealready, how do we then interpret such intimate acts, for Measure (Shakespeare, 2015b), Mariah Gale (Isabella)which can be considered sexual, when these acts are not chooses to ignore Lucios instruction, instead remainingnecessarily sexually driven?at a distance from Angelo only trying to persuade him through her speeches and wit. Although Brendan OHeaIn both cases, a sexualized imagery returns to haunt does not perform Lucio so provocatively as Feklistov, wetheir actions. Vardevanian and Gales actions occur instead have Isabellas actions starkly juxtaposed with thearound the same lines in the text leading up to Hark, overt sexual antics of Petra Massey (Mistress Overdone),how Ill bribe you (Shakespeare, 2015a; Shakespeare, who is one minute passionately kissing Elbow and the next2015b). To briefly turn back to Schmidt and Sarrazin, quite literally hanging off Froths garments, practicallythey believe Shakespeare used bribe to mean to win [or] stripping him naked from the waist down (Shakespeareseduce (1902: 145) in this context. However, as we know 2015b). Therefore, by analysing this scene from an asexualShakespeare left no stage directions indicating that Isabella perspective, we are able to see how Vardevanian andshould accompany her lines with some form of intimate Gale, in choosing to act against Lucios proposed sexualgesture. Thus, these actions are possibly imposed more scripts, create a paucity of sexual repetitions (Przybyloso by the directors and actors of today than an accurate 2011: 450), thus, allowing us to interpret Isabella as anreflection of Shakespeares authorial intent, because asexual character. Not only this, we realize how asexualityShakespeare has Isabella continue to persuade Angelo by can create a localized space of safety within sexusocietysoffering prayer with no reference to her body (2008: 48).bounds [original emphasis] (Przybylo, 2011: 455).In his essays on sexuality, Freud attributes the lips with On the other hand, what I have outlined above can bea sexual function, arguing that they shouldbe regarded considered reactive, binary-entwined definitions andand treated as genitals (2000: 19). In Vardevanians case, performances [of asexuality] (Przybylo 2011: 457) whichthen, it is arguable that her gesture is sexual in nature focuses more on what asexuals do not do. As I mentionedbecause it involves a part of the body considered to be at the beginning of the essay, asexuality is not defined byon the road towards copulation (2000: 15). Hence, her the persons sexual behaviour, and so my analysis only actsclaim to bribe Angelo is given an underlying sexual to reinforce asexuality as the lost referent to sexualitymotive. Having said this, we see Vardevanian kiss Petr (Butler 2011: 166). In performance, I have only beenRykov (Claudio) in a similar fashion. When Isabella goes able to legitimate Isabellas asexuality through what theto prepare Claudio to die, Rykov hysterically cries into actresses playing her role choose to do that is consideredVardevanians lap, and she, holding him in her arms, 13'