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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a and soldiers ) who will continue to exploit the desire to search out racial identity through the application of torture . In the end , I discuss specific strategies for appropriating performances of race and torture .
In some ways , by deconstructing both essentialist and social constructivist notions of racial identity , the play ends with Oroonoko's race and identity as wholly separate from those of his white , English counterparts .
The anxiety over this lack of stability , I argue , forces Dryden to invest Indian Emperour and Amboyna with a notion of essential English identity . By constructing affect as an essentializing marker , however , Dryden reveals the ...
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