b'T3 Journal - Student Writing in Drama, University of Exeter 2019-202018). Queer and Feminist theory explore the idea thatwhy are high heels only stereotypically associated with gender is a social construct and a performed role (Fortierfemininity? Through gender play, the fictions of gender 2016: 99). In Wise Children, via gender-blind casting, a manare highlighted (Dolan 2012: 116). In Wise Children, (not biologically female) is able to perform the role of ameaning is made through gender-blind casting. Through woman, by assuming certain characteristics associated withthis, the production disrupts the audiences social and a woman. This is particularly evident in Showgirl Noracultural expectations about how men and women should and Dora, played by Omari Douglas and Melissa James.each appear, act and speak, both onstage and in the world Despite knowing that Douglas biological sex was male (a(Solga 2016: 19).6-foot-tall, black man), the audience wholly believed in his performance of a female character. Moreover, DouglasWise Children also challenges hegemony, through character has a miscarriage onstage. Blood dripped frompreconceptions about the female body and sexuality. between his legs onto a sheet below, as he/she sobbedThe production directly challenges the male gaze, and in grief. It was a deeply moving, realistic and upsettinghow the female body has been assimilated by the moment. The audiences belief in the character and scenepatriarchal system of desire and representation (Ellen at this moment was not affected by the fact that it was aCase 2008: 128). Cultural work often appropriates the man playing a female character. In response to a similarfemale body, reducing women to fetishized body parts production, Katie Laris remarked: The ease with which(breasts, vagina, face), a masculinist fantasy with no these actors transform themselves, and the degree torelation to real women (Fortier 2016: 87). A by-product which the audience accepts these characters, compellinglyof this is, the ageing female body is not typically illustrates how ultimately artificial such categories [gender,represented in life or onstage, as it doesnt fit into the race and age] are (Laris 1995: 301). By doing so, Wisepatriarchal idea of a sexy woman. However, Wise Children creates meaning and questions the assumptionChildren challenges this by actively including elderly that biological markers are also the grounds of genderwomen, such as Elderly Nora and Dora and Grandma identity (Fortier 2016: 99). Chance, who are sexually active, older women. For example, in one moment Grandma Chance is naked and Using this theory, the audience come to observe thatthe audience see the female body in all its imperfect flesh, gender is constructed by society: a set of traits andfat, muscle and bone and vulnerable nakedness (Solga behaviours that are learned and performed. For example,2016: 29).This representation purposefully removes the certain signs indicated Nora and Dora were femalething the male gaze always hopes to see: a beautifully twins, including their costumes. In one scene, they weremade up, covered up woman, who almost-but-not-quite both dressed in red high heels and a sparkly green dress.reveals herself to consuming eyes (Solga 2016:29). Not By wearing these items which are traditionally associatedonly do the audience see the older naked body, but with the female gender, it is implied that Douglas isGrandma Chance is proud of her body: an avid naturist, performing as a woman. Similarly, Gareth Snook whodancing around the stage showing off her body and played elderly Dora, plumped his hair and applied lipstick.owning its imperfections. Moreover, all three of the older From these examples, we are able to see that gender iswomen talk openly about sex, have a sexual appetite and words, gestures, appearances, ideas and behaviour thatalso have sex onstage. Through its representation of the culture assigns as part of either feminine or masculineolder female body, the production rejects the restrictive identity (Diamond 1988: 84). Judith Butler reinforces thisimages applied to [elderly] womens bodies (Ellen Case by suggesting that becoming a woman is a purposive and2008: 68). Wise Children created meaning through exploring appropriative set of acts (Butler 2004: 23). Elin Diamondand reinforcing that, even as a woman ages, develops this idea, suggesting that gender-bendingshe still has a right to her own body and her sexuality enables the spectator to see gender as a sign system(Ellen Case 2008: 68). Through these representations, and understand it as an ideology (Diamond 1988: 85).women can reclaim and return to the body that has been Through this performed gender, it can be seen that genderconfiscated from her (Cixous in Marks and Courtivron is not innate to our biological sex, instead it is performed1981: 250). The female writer and director have created a (Dolan 2012: 10). By adopting traits culturally associatedworld where the experiences of women, including those with masculinity or femininity, it is possible for anyonedeemed unsexy by the patriarchy, are represented onstage. to perform gender, regardless of their biological sex.Despite moments of resistance from the male gaze with Moreover, the performance reveals gendered restrictions:respect to gender and female sexuality, Wise Children did 48'