Performing Race and Torture on the Early Modern Stage
Routledge, 2008 - 174
Performing Race and Torture on the Early Modern Stage provides the first sustained reading of Restoration plays through a performance theory lens. This approach shows that an analysis of the conjoined performances of torture and race not only reveals the early modern interest in the nature of racial identity, but also how race was initially coded in a paradoxical fashion as both essentially fixed and socially constructed. An examination of scenes of torture provides the most effective way to unearth these seemingly contradictory representations of race because depictions of torture often interrogate the incongruous desire to substitute the visible and manipulable materiality of the body for the more illusive performative nature of identity. In turn, Performing Race and Torture on the Early Modern Stage challenges the long-standing assumption that early modern conceptions of race were radically different in their fluidity from post-Enlightenment ones by demonstrating how many of the debates we continue to have about the nature of racial identity were engendered by these seventeenth-century performances.
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114 6.1 Abu Ghraib Prison photo , constructing the detainees as sodomites , November 7 , 2003 . 124 6.2 Abu Ghraib Prison photo taken by Sabrina Harman of Lynndie England and a “ RAPEIST ” ( sic ) , November 7 , 2003.
both lynching photographs and in the photographs from Abu Ghraib we can see a consciously staged and highly ritualised performance as if the actors were following a script . ( 4 ) Highlighting the sexualized nature of the images from ...
( 26-27 ) I would add the “ dog pile ” photo to this list of “ branded images ” from Abu Ghraib . Despite the fact that Lynndie England is featured in the “ Leashed Man ” image , I would argue that it is precisely these images that have ...
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