Gender Roles In Peter Shaffer's Amadeus And Sean O '

Behind every married man, a wife lives in his shadow. A woman who supports his decisions. A woman who loves and respects him unconditionally. A woman with a role to fulfill. Whether he is a good or bad man, she must remain at his side as a “good” wife. In Peter Shaffer’s Amadeus, Jez Butterworth’s The Ferryman, and Sean O’Casey’s The Plough and the Stars, several structures, themes, histories etc. are explored in each play; yet, one character exists within these three plays: the archetypal wife. From the homemaker to the mother, the woman is expected fulfill her duty, and if she does not, she loses her husband and, as a result, everything else. In these plays, therefore, the archetypal wife is a reflection of her husband’s desires in a partner, which are influenced by gender roles rather than personal qualities.
In Amadeus, Antonio Salieri, an Italian classical composer, pledges to honor God if he succeeds in his career. Appointed as court composer of the Habsburg Monarchy, Salieri marries Teresa and promises to be a faithful husband although he feels lust towards his pupil Katherina Cavalieri. As his reputation continues to thrive, Wolfgang Amadeus Mozart is introduced into the opera world. Enamored by his compositions,
Congratulating Mozart on his performance, she “flings herself on [him], not even noticing the Emperor” while using the previously mentioned nickname (Shaffer 36). Instead of reciprocating her affection, he “indicates the proximity of His Majesty,” and Constanze, apologizing for her impoliteness, “curtsies in embarrassment” (Shaffer 36). In this interaction, Mozart is reminding her to act cordially in public, and her curtsy reinforces that a feminine politeness. While he can be obscene in public, his wife is expected to be amicable because she is a reflection of his reputation. Therefore, she must muffle her energy and apologize for Mozart’s behavior since her husband