One of the things that stuck out to me from Greenblatt’s article was his idea that most of the transformations and exchanges in Twelfth Night show how “men love women precisely as representations, a love the original performances of these plays literalized in the person of the boy actor” (93). With the Globe performance of Twelfth Night, we got a sense of how Renaissance theater used the body as a way to both reveal and trouble gender and sexuality; how women “pass through the state of being men in order to become women…. Shakespearean women are in this sense the representation of Shakespearean men” (92).  In order for a woman to really be a woman, she must have first been “legitimized” as a man.