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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Dryden's popular English play potentially could have created an environment in which the English audience ... Artaud sutured over the multifaceted complexities of Dryden's original text in order to create a production that ends with ...
Likewise , the role of the audience is central in the construction of race : the act of viewing the performance creates these contradictory constructions . This theory , of course , seems to privilege the “ white ” gaze , creating race ...
22 It is interesting to note , however , that this “ liberty of fancy ” did not steer Dryden to create the same type ... of English conquest that Davenant created in The Cruelty , in The Indian Emperour Dryden creates an all - Spanish ...
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Religion Color and the White
Abjection and Racial Characterization
The Indian Emperour or The Conquest
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