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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Revenge tragedies rarely contain racialized characters even though the genre thrived in a period when such depictions ... chapter in her book entitled “ Avenging villains , " neither critic actually addresses the revenge tragedy genre .
tragedy genre . Instead , they discuss the notion of the ... In a genre that is obsessed with bodies , corpses , and body parts it is amazing how uninterested revenge tragedies are in race . As John Kerrigan has argued , revenge ...
Written about 150 years after the first production of The Indian Emperour , Scott's comments have framed and influenced the notion of the heroic tragedy for many scholars of seventeenth - century literature .
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Religion Color and the White
Abjection and Racial Characterization
The Indian Emperour or The Conquest
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