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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I am less interested in the connections between Ravenscroft's rewriting and the fear of the Popish Plot , however , than in the way anxieties about religious alterity are rewritten onto a specifically and literally colored body .
Thus , Shakespeare creates a character who both literally and figuratively works to destroy the Roman society : Aaron literally creates an offspring that cannot be assimilated into the society , and more insidiously , his mastery of ...
Rather , Spanish - ness , like Indian - ness , is emphasized , literally written into the script , through objects that are de - familiarized : guns that breed “ amazement ” and “ Domination , ” for instance .
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Religion Color and the White
Abjection and Racial Characterization
The Indian Emperour or The Conquest
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