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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In chapter 4 , “ Racializing Civility , ” I moved on to explore the importance of objects and props as racializing tools on the seventeenth - century stage . These props , like stage racks , are meant to materialize race in a specific ...
Pat Rogers , “ Breeches Roles , ” in Sexuality in Eighteenth - Century Britain , ed . Paul - Gabriel Boucé ( Manchester , Manchester University Press , 1982 ) , 255 . 11. Heidi Hutner , Colonial Women : Race and Culture in Stuart Drama ...
For an excellent account of the financial , social , and artistic history of playhouses in the late seventeenth century see Judith Milhous , Thomas Betterton and the Management of Lincoln's Inn Fields , 1695-1708 ( Carbondale : Southern ...
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