ABSTRACT
The contemporary model of identity is more complex, in that it acknowledges both multiplicity and mobility. One major locus of conjunction between multiple identity and mobility is that of surface, the public, outer layer of identity which signifies according to specific social codes. The surface mobility and performativity of identity are more apparent than on the theatrical stage in the form of disguise. A pilgrim's disguise is worn by Eleonora searching for her estranged husband in Il frappatore, an outfit that is unusual enough for Beatrice to remark upon when they first meet. Cross-national disguise is used by Arlecchino in La famiglia dell'antiquario for the illegal purpose of defrauding Anselmo, his gullible master, before whom he poses as an Armenian with supposedly valuable antiques to sell. Female characters adopt class disguise in the plays. Fashion is a social construct operating at the highly mobile surface level of physical appearance.
