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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These seventeenthcentury texts not only seem “ consistent with our present troubled state of mind , ” but also seem to have helped to create the very discourses we use to express , and attempt to work through , these troubles .
was constructed on the seventeenth - century stage not merely through color , but through a complex set of discourses and performances that ultimately served to construct an English identity that was uniquely normalized .
In other words , the profusion of the images threatened the government's ability to control the discourses and narratives used to make sense of , justify , and / or excuse them , Rumsfeld implies . Mass reproduction , in this sense ...
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