Cleopatra from a Feminist Perspective

By Hannah Dworkin

What comes to mind when you imagine “Cleopatra”? A sultry Elizabeth Taylor using her feminine wiles to manipulate the leaders of Rome? A strategic genius who ruled over Egypt with an iron fist? Now imagine Marc Antoni in this context. Was he a man duped by the overwhelming power of a seductress, or did he see an alliance with a powerful monarch who would aid him in defeating his enemies? We may never find an exact historical record of their relationship, but our interpretation of Cleopatra throughout the ages is a fascinating view into our culture and gender biases. 

As noted by numerous feminist historians, depictions of women in the arts have long reflected society's anxieties of the feminine. To ease this fear of female power, Western art forms, including opera, have placed female characters within one of four controllable archetypes: The Ingenue, The Temptress, The Mother, and The Crone. Cleopatra falls clearly as a temptress in our interpretations of her life. She uses her power to destroy Antony’s family structure, and, like Carmen (another famous seductress), Cleopatra meets the tragic end she “deserves”. 

Stacy Schiff said it best in her 2010 article Rehabilitating Cleopatra: 

“She nonetheless survives as a wanton temptress, not the first time a genuinely powerful woman has been transmuted into a shamelessly seductive one. She elicited scorn and envy in equal and equally distorting measure; her story is constructed as much of male fear as of fantasy. Her power was immediately misrepresented because—for one man's historical purposes—she needed to have reduced another to abject slavery.” (Schiff)

The irony of this interpretation that Cleopatra was a temptress is that it assumes that it also negates Marc Antony’s agency to make his own strategic decisions. While Cleopatra is relegated to the two-dimensional role of villain, Mark Antony is assumed weak, unable to control his desire even when The Roman Empire is at stake. 

Cleopatra is by no means the only woman in history and art to be pigeonholed into this two-dimensional archetype. Elizabeth Taylor herself was accused of seducing Eddie Fisher from then-wife Debbie Reynolds (who many would classify as an ingenue), and she was the recipient of international scorn while Fisher’s reputation was left untarnished. In fact, it was seen as very risky to cast her in the 1963 movie. 

My own experience as a young singer is reflective of how our modern interpretations of the feminine in opera have not changed. My well-meaning teachers began training me for ingenue roles after considering my young age, slight frame, and overall appearance. My characters were innocent, naïve, and easily manipulated by the male characters. As often happens, life reflects art, and I was expected to embody that persona in and outside of rehearsals. 

Despite this history, there are signs of change. Opera companies are discussing sexism and the patriarchy in the context of their season planning and directing female identifying characters in new and innovative ways. Composers like Sussanah Self are creating work that will focus on female characters whose lives are not dominated by their gender. Her goal, as well as many others, is to write characters that pass the Bechdel test developed by Alison Bechdel. This test evaluates works of art by measuring the percentage of time female identifying characters discuss their romantic relationships with men against how much they discuss other topics of substance. 

It is worth noting that this discussion still operates withing the confines of gender as a binary rather than a spectrum. It is encouraging that there are discussions within the operatic community about redefining gender completely throughout the art form, but that is a discussion for another article. 

As opera makers, performers, and audience members, the question remains, “What is our responsibility to changing the narrative and depictions of women in our art form?” The solution is not an easy one. It begins in several places. Opera companies, conservatories and young artist programs need to engage in a deep evaluation of who is represented in opera, how classic operas can be reinterpreted, and more female identifying artists need to be at the table for these discussions.  

There is also an opportunity for audience members and donors. When you watch operas, you may want to consider how empowering the roles given to women are. If there is a disconnect between what you see as uplifting, make your voice heard through letters, emails, and in person meetings. You may also want to donate funds to your favorite opera company specifically allocated to the inclusion of more female voices and characters with more agency. These donations do not have to be large to send a message.  

Most importantly, we all must look within and consider what biases we may be bringing into a work of art and into our daily lives. The work is arduous, but it is imperative to the next generation of artists and attendees. 

Hannah Dworkin is the Education Development Manager in San Francisco Opera's Diversity, Equity and Community Department.

 

Magazine, Smithsonian. “Rehabilitating Cleopatra.” Smithsonian.com, Smithsonian Institution, 1 Dec. 2010, https://www.smithsonianmag.com/history/rehabilitating-cleopatra-70613486/.