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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ST a hooded , male bodies of the prisoners are constructed as racially Other through the inclusion of the white , clothed , female bodies of the soldiers controlling them . Likewise , the explicit use of the word “ RAPEIST ” ( sic ) ...
Similarly , the digital images of prisoner abuse from Abu Ghraib traffic in the ritualization of the abject nude body . Although the majority of the digital images from Abu Ghraib capture prisoners who are alive ( there seems to be only ...
She said Graner and Frederick told her they were bringing in seven prisoners from a riot at Ganci . ' The prisoners were brought in in handcuffs and bags on the heads and wearing civilian clothes , ' England said .
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