b'T3 Journal - Student Writing in Drama, University of Exeter 2019-20bends down and kisses him several times to comfort himof how asexuality manifests in contemporary performances (Shakespeare 2015a). My question, in short, is why mightof Measure for Measure above. Although asexuality reactively we see the first kiss given to Angelo differently to thequeers performances of sexual desire on stage by presen-second kiss given to Claudio? ting possibilities to act differently (Przybylo 2011: 457), performatively this can work to efface its existence at Both kisses are given in order to persuade someone, thethe same time. This can be put down to one of two thing: former to persuade Angelo to show mercy, and the latterperformance as a medium is primarily based on action to comfort a brother, and technically attempt to persuadeor behaviour and does not currently allow space on stage him to accept his fate more readily through reassurance.to accurately reflect asexuality and characters who can be Admittedly, there is a familial context which surroundsinterpreted as asexual textually; and the dyadic approach Isabella and Claudio, so it would be problematic to implywe currently have to relationships means one persons that Isabella would kiss her own brother with sexualset of desires can be eclipsed by anothers, thus making intent. What this does show, however, is that the kissit difficult to prove if there is an absence of desire, is contextual, and not inherently sexual. Przybylo whileattraction and so on.discussing how sexusociety privileges certain acts claims it is not that we know sex to be coitus so much as that we repeat coitus as sex [original emphasis] (2011: 454), and the same can be said for other acts, such as kissing, that can beAVEN (2020) Overview [Online] Available from:considered preliminary sexual aims (Freud, 2000: 15). https://www.asexuality.org/?q=overview.html [Accessed: 25 April 2020].Bogaert, A. F. (2015) Understanding Asexuality, Plymouth: Rowman & For Gale, then, her actions are not so connected to aLittlefield.sexual aim, at least in Freudian terms. Yet, despite Gales tearful delivery, her actions too can be interpreted asButler, J. (2006) Gender Trouble, 2nd edition, London: Routledge.sexually motivated. The physical contact of Gales handButler, J. (2011) Bodies That Matter, 2nd edition, Abingdon: Routledge.on Egyiawans chest brings their bodies in close proximityCerankowski, K. J. and Milks, M. (eds.) (2014) Asexualities: Feminist and for a prolonged period of time. While the audience isQueer Perspectives, New York: Routledge.presented with a very honest moment of Isabella pleading Decker, J. S. (2015) The Invisible Orientation: An Introduction to Asexuality, Angelo to reconsider his judgement, in her action andNew York: Skyhorse Publishing.words, ask your heart (Shakespeare 2008: 47), Isabella can be seen as appealing to Angelo both intellectuallyFreud, S. (2000) Three Essays on the Theory of Sexuality, translated from German by Strachey, J., New York: Basic Books.and sensually. But, above all else, she enacts the very imagery Lucio provided earlier touch him: theres thePrzybylo, E. (2011) Crisis and safety: the asexual in sexusociety, vein (Shakespeare 2008: 43), thus repeating a sexualSexualities, vol. 14 (4), pp. 444-461.script proposed by sexusociety and falling victim to theScherrer, K. S. (2008) Coming to an Asexual Identity: Negotiating force of citationality (Butler 2011: 167) that constitutesIdentity, Negotiating Desire, Sexualities, vol. 11 (5), pp. 621-642.normative sexual practice. Schmidt, A. and Sarrazin, G. (1902) Shakespeare-lexicon: A Complete Dictionary of All the English Words, Phrases, and Constructions in the Work of the It has become apparent to me, on the one hand, that itPoet, 3rd edition, Berlin: Reimer.is useful for us to define asexuality reactively and focusShakespeare, W. (2008 [c.1604]) Measure for Measure, edited by Lever, J. on what the performers do not do, for example, neitherW., London: The Arden Shakespeare.performers actions climax in sex with Angelo, in order toShakespeare, W. (2015a) Measure for Measure, Declan Donnellan (dir.) allow space for asexuality to queer sexuality. On the other,Barbican Theatre, London: Cheek by Jowl. First performance: were I to accept the bodys anatomical extensions of the6 December 2013 [22 April 2015].sexual aim (Freud 2000: 16-21), then I risk eradicating anyShakespeare, W. (2015b) Measure for Measure, Dominic Dromgoole (dir.) chance of interpreting Isabella as asexual, at least in theThe Globe Theatre, London: Shakespeares Globe. First performance: 1 July 2015.context of performance. Either conclusion foregrounds an androcentric construction of sex (Scherrer, 2008: 629), which at present privileges (hetero)sex as the real deal and leaves all else on the margins (Gavey 2005, cited in Przybylo 2011: 448). As I have found in my exploration 14'