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Tracing different approaches to the notion of gender masquerade, this study promotes the idea that a female subjectivity can be constituted, represented and socially situated by the means of audible masquerade. Given that the masquerade is understood here as an ongoing, recurrent, strategic and creative audible performance, the female voice, either in its real form (singing in opera, for instance) or in its metaphorical sense (écriture fémine), is taken as a gender mask par excellence. The study aims to shed some light on social and theoretical contextualization of female voice and its oppositions to the paradigm of male word / male voice.

Voice as a masquerade: Audible gender performance in several representative theoretical discourses on female identity