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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William Davenant's theatrical innovations during the Interregnum forever changed the course of the early modern theatre by introducing many of these innovations . The newly opened theatres were smaller , enclosed spaces lit by ...
This , of course , does not mean that race was not a factor on the Restoration stage . Rather , it means that the still burgeoning notions of race were being constructed in contradictory ways . By privileging color as the most ...
Similarly , directing the course of the repetition of these visual images seems the only way , although painful and arduous , to make visible and work through a central but largely unacknowledged feature of traumatic American history .
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