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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use of torture on a legal basis , Digges's pamphlet provides an unusually sensational and graphic account of torture . An obvious propaganda piece against the Dutch ( “ Where , in the united Provinces , is that drowning with water in ...
scenes of torture portrayed and Digges's third - hand narrative itself , this relationship is shown to be even more problematic with the portrayal of race relations on the island ( and in the narrative ) . There are the “ Japoners ( of ...
Like Clarke one sentence earlier , whom Digges referred to as “ this poore man , ” the “ poore Japoners ” also suffer from “ putrifaction of their tortures . ” Likewise , in giving a brief history of the Dutch destruction of the English ...
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