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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At the same time she plots to make the innocent Young Queen look guilty of the murders . Like many plays from the early modern period , the text necessarily links playing , plotting , and theatricality with political subversion and ...
Linking Titus Andronicus , or the Rape of Lavinia with the Popish Plot , Ravenscroft emphasizes the “ Treachery of Villains ” who spread “ False Evidence . ” When in 1678 Titus Oates , a rogue Anglican cleric , spread the story that he ...
By the middle of the eighteenth century it became commonplace to criticize Southerne's split plot . One critic wrote that the mixture was “ absurd and most unnatural . ... By introducing an under plot of the comic kind , though complete ...
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