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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