On the other hand, we might want to view the androgyny of Dionysos, already in Aiskhylos called a gunnis (womanish man) and pseudanor (counterfeit man, frag. 61 Nauck 2 ), as a true mixture of masculine and feminine. [...] Such a view would stress male and female aspects alike; it would regard the god as embodying a dynamic process or as configuring in his person an alternate mode of reality. Convincing as this view may be, it runs the risk of underrating the fact that it is precisely Dionysos' identification with the feminine that gives him and his theater their power.
Playing the Other: Theater, Theatricality, and the Feminine in Greek Drama, by Froma Zeitlin, 1990.










