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 present historical moment , but critics like Wheeler , Orr , and Hughes base their objections on a belief that there is a stable notion of race today : one that is radically different from what existed ( or did not exist ) in the ...
Despite the fact that the events in Amboyna take place on what is now called Ambon Island , part of the Maluka Islands of Indonesia , Dryden is careful to racialize only the Dutch : not the Amboynese , Japanese , or Portuguese present ...
... lands are meticulously elided ; instead , all of the language of racial and cultural difference is reserved for the Dutch in order to emphasize the disparity between the two Protestant European trading nations present in Amboyna .
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