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The presence of crossdressing in Japanese pop-culture can be construed as the result of the popularity of Kabuki theater that originated as a style of dance drama performed by female troupes in Japan in the early 17th century. In 1629 women troupes were banned from performing due to their increasingly erotic nature and prostitution of the actresses. To accommodate for the ban, male actors performed both male and female parts.
In anime and Japanese video games, crossdressing by males is often used for comical purposes. Unlike in western culture, it is not taboo for a male character to crossdress and carries less stigma of sexual orientation or questionable morals, although the act is still considered odd/perverse, hence the comedy.
One of the leaders of clan Duelhorn, the bangaa Night Dancer, is hinted to be a male crossdresser. Wearing lipstick, eyeshadow, calling himself a "bad girl" and equipping female-only equipment along with his troupe (bangaa are always considered to be male for gameplay purposes, thus unable to equip these accessories through normal means). The Night Dancer is known to be male due to a post on the pub claiming him to be a "crossdressing old man" and to one of the battles fought against him. Though the law forbids the player's clan from harming the opposite gender in that battle, if a male character attacks the Night Dancer, the law will not be broken.
Since young male players were the norm during the English Renaissance, were all cross-dressed performances of female characters played with the same degree of seriousness Probably not. Spectrums of Representation in Shakespearean Crossdressing examines these varied types of female characters in English Renaissance drama, drawing from a range of play texts themselves in order to investigate if evidence exists for varying performance practices for male-to-female crossdressing. This book argues for a reading of the representation of female characters on the English Renaissance stage that not only suggests categorizing crossdressing along a spectrum of theatrical artifice, but also explores how this range of artifice enriches our understanding of the plays. The scholarship surrounding cross-dressing rarely makes this distinction, since in our study of early modern plays we tend to accept as a matter of course that all crossdressing was essentially the same. The basis of Spectrums of Representation in Shakespearean Crossdressing is that it was not.
A crossdressing engineer who left two women terrified after he was caught exposing a pair of fake breasts has been ordered to pay 1,500 compensation. Scott Mathieson, 52, prowled the streets of East Kilbride, Lanarkshire, under the cover of darkness dressed in women's clothing. 59ce067264