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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Instead , he simply states , “ Look , Marcus , look ” ( 4.1 ) . " ? In the same vein , Ravenscroft edits out the entire second scene of Shakespeare's third act ( the fly killing scene ) , in which Titus protests : O , handle not the ...
If black men could be lynched for the “ reckless eyeballing " of white women , then the staged lynching images constructed the white / right way to look . ' The image of the lynching of Thomas Shipp and Abram Smith epitomizes what ...
In Notes and Observations on The Empress of Morocco ( 1674 ) Settle's critics write , “ Here he makes a Guilded thing look like Coral ; and like a Thing which first looks Black , and then looks Fair ” ( 29 ) . 23.
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