Abstract The use of male cross-dressing in Gerónimo Cáncer y Velasco's entremés Juan Rana muger (1676) and Netflix's Paquita Salas (2016–19) reflects Spanish beliefs about gender roles in disparate eras. Drawing on definitions of camp by Esther Newton and Jonathan Dollimore, I argue that both works employ gender play through theatricality, incongruity, and humor to different ends. Juan Rana muger reinscribes patriarchy through a vengeful wife, while Paquita Salas aligning with the LGBTQI+ community, reveals the absurdity of gender constructs. The works illustrate how the cross-dressing trope and gender ideologies in Spain have evolved and how they have remained static.
Matt Peisen (Wed,) studied this question.