The necessity of making sure that no accident had happened to her disguise in
the interval since she had left her own room impressed itself immediately on her mind.
He discusses the disguised ruler on the Elizabethan stage, The Malcontent: a play in two forms; conventionality in disguise in
Measure for Measure; law, morality, and the medievalism of disguise in
The Phoenix and The Fawn; and disguised ruler afterlives: the specter of terrorism.
With his new disguise in
his saddle bags, Turnbuckle stops the stage headed for Sweetwater, taking money from all the passengers except Judy Valentine.
Such scholarship has interpreted disguise in para-metaphorical ways in relation to social hierarchy, the construction of gender, or the construction of identity or subjectivity.
On the other hand is a strain that has looked through disguise in search of cultural meanings that relate to the ideologies of Early Modern England, but those meanings, while interesting as cultural history, are not of much use for the practical staging of disguise plays, since they cannot be reconstructed on the modern stage.
Bradbrook, 'shakespeare and the Use of Disguise in Elizabethan Drama', Essays in Criticism 2 (1952), 160.
Transsexual disguise in L'Astree has the function of assisting communication in the passage across the barrier of physical gender, but it is also the vehicle of experience for the opposite sexuality.
One, having to do directly with the theater of self-representation in the text, has Silvandre concurring with a condemnation of "the finesse and trickery" of role-playing in the love intrigues,(83) while it is of course Adamas who (not entirely without self-interest(84)) concocts the scheme of the grand Celadon/Alexis disguise in the first place, and defends the notion of role-playing and disguise,(85) Another contradiction is within the character of Silvandre himself, who preaches that love and jealousy are mutually exclusive,(86) and who shortly thereafter falls victim to jealousy in love.(87)