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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For example , Elaine Scarry's work on the connections between torture , language , and the construction of our world , The Body in Pain , theorizes the deconstructive nature of torture . She argues that “ Physical pain ... is language ...
Titus , for example , no longer tests his punning tongue by saying , “ Mark , Marcus , mark ! ” when he offers to console Lavinia . Instead , he simply states , “ Look , Marcus , look ” ( 4.1 ) . " ? In the same vein , Ravenscroft edits ...
In his discussion of “ the savage critic , ” Anthony Pagden cites the torture of Montezuma as the quintessential example of the anti - heroic . Anthony Pagden , “ The Savage Critic : Some European Images of the Primitive ...
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