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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This final scene — the Restoration theatre's shutters open onto a horrific scene of torture as the ultimate view for the play- — serves to stabilize the significance of the material . Certainty and stability , the scene implicitly ...
In this final bold assertion Dryden depicts himself , the author , as the true hero — the craftsman of this conquest . Dryden's final concession that he cannot " make the justification , ” because that is the province of “ your Graces ...
Act V , scene ii is the final scene of The Indian Emperour . Not only does the Indian Priest die on the rack , but , presumably , the rack and his corpse stay on stage throughout the play's resolution . Consequently , none of the ...
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Religion Color and the White
Abjection and Racial Characterization
The Indian Emperour or The Conquest
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