Performing Race and Torture on the Early Modern StageRoutledge, 13 wrz 2013 - 192 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. |
Z wnętrza książki
Wyniki 1 - 5 z 77
... John the Baptist's Bones, Vienna, Kunsthistorisches Museum, fifteenth century. 2.1 Engraving from John 2.2 Broadside for Elkanah Settle's Pope-Burning Pageant, “The Solemn Mock Procession of the Pope Cardinalls Jesuits Fryars &c ...
... John Parker, Bryan Reynolds, Marc Shell, Gabrielle Starr, Henry Turner, and Sarah Wall-Randell. I also remember having particularly informative conversations with Aviva Briefel, Monica Miller, Rachel Rubinstein, and Catherine Toal ...
... John Dryden's 1665 play, The Indian Emperour, or The Conquest of Mexico by the Spaniards, for the Theatre of Cruelty had an intrinsic logic because it not only depicted “great social upheavals” and “conflicts between peoples and races ...
... John Verbruggen in an Indian costume and brownface, but Artaud never stipulated how his Montezuma would perform his Indian-ness in The Conquest of Mexico. Artaud left the performance of race untheorized. And finally and perhaps more ...
... John Dryden's The Indian Emperour, and Oroonoko in Thomas Southerne's stage adaptation of Oroonoko, were all tortured in full-view onstage. Although many of these characters are depicted as having a hidden or threatening inwardness ...
Spis treści
A Matter that is No Matter Religion Color and the White Actress in The Empress | |
When Race is Colored Abjection and Racial Characterization in Titus Andronicus | |
Racializing Civility The Indian Emperour or The Conquest of Mexico by | |
or The Cruelties of the Dutch to the English | |
Combating Historical Amnesia On the Images of Prisoner Abuse from Abu Ghraib | |
Notes | |
Bibliography | |