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Possible Answers:
TYLER.
Last seen on: Daily Boston Globe Crossword Saturday, 29 April 2023
Random information on the term “Madea”:
Cross-gender acting refers to actors or actresses portraying a character of the opposite sex. It is distinct from both transgender and cross-dressing character roles.
Many societies prohibited women from performing on stage, so boys and men took the female roles. In the ancient Greek theatre men played females, as they did in English Renaissance theatre and continue to do in Japanese kabuki theatre (see onnagata). In Chinese opera specialized male actors who play female roles (dàn) are referred to as nándàn (男旦); the practice arose during the Qing dynasty due to imperial prohibitions against women performing on stage, considered detrimental to public morality.
Japanese kabuki theatre began in the 17th century with all-female troupes performing both male and female roles. In 1629 the disrepute of kabuki performances (or of their audiences) led to the banning of women from the stage, but kabuki’s great popularity inspired the formation of all-male troupes to carry on the theatrical genre. In kabuki, the portrayal of female characters by men is known as onnagata. The practice is detailed in a story of the same name by the Japanese writer, Yukio Mishima. All roles in Noh dramas are traditionally played by male actors; actors playing female roles wear feminine costumes and female-featured masks. The Takarazuka Revue is a contemporary all-female Japanese acting company, known for their elaborate productions of stage musicals. Takarazuka was created in the early 20th century by Ichizō Kobayashi Takarazuka actresses specialize in either male roles (otokoyaku) or female roles (musumeyaku), with male-role actresses receiving top billing. In contrast to kabuki’s exclusion of female performers, Takarazuka introduced a theatrical performance platform where women could take the stage. However, despite this opportunity for women to embody roles that represented their sex, as well as a man’s, the structure of Takarazuka still reflected the patriarchal control of Japan. The musumeyaku represented fictional recreations of women. As for the otokoyaku, their roles aimed to emulate a model man that women would desire. Jennifer Robertson asserts, “Personal or contrary motivations and desires aside, both musumeyaku and otokoyaku are the products of a masculinist imagination in their official stage roles”.