Book contents
- Playing and Playgoing in Early Modern England
- Playing and Playgoing in Early Modern England
- Copyright page
- Contents
- Illustrations
- Notes on Contributors
- Acknowledgements
- A Note on the Text
- Introduction
- Part I Players
- Chapter 1 Shakespeare’s Motists
- Chapter 2 ‘Thou Look’st Pale’: Narrating Blanching and Blushing on the Early Modern Stage
- Chapter 3 Emotions, Gesture, and Race in the Early Modern Playhouse
- Chapter 4 The Girl Player, the Virgin Mary, and Romeo and Juliet
- Part II Playgoers
- Part III Playhouses
- Bibliography
- Index
Chapter 3 - Emotions, Gesture, and Race in the Early Modern Playhouse
from Part I - Players
Published online by Cambridge University Press: 10 March 2022
- Playing and Playgoing in Early Modern England
- Playing and Playgoing in Early Modern England
- Copyright page
- Contents
- Illustrations
- Notes on Contributors
- Acknowledgements
- A Note on the Text
- Introduction
- Part I Players
- Chapter 1 Shakespeare’s Motists
- Chapter 2 ‘Thou Look’st Pale’: Narrating Blanching and Blushing on the Early Modern Stage
- Chapter 3 Emotions, Gesture, and Race in the Early Modern Playhouse
- Chapter 4 The Girl Player, the Virgin Mary, and Romeo and Juliet
- Part II Playgoers
- Part III Playhouses
- Bibliography
- Index
Summary
This chapter examines how early modern plays, if viewed as kinetic maps, articulate how an actor’s body reflects emotion through a range of gestural utterances that can perhaps be felt kinetically by audiences; it does so through the lens of race and performance. Taking Burbage’s performance of Othello as a case study and Imtiaz Habib’s documentary evidence of black lives in Tudor and Stuart England, Karim-Cooper speculates about black presence in the audience. As such theorizing about the relationship between movement, racial impersonation and audience response can unearth a reciprocal dynamic that forms the basis of early modern theatrical performance.
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- Playing and Playgoing in Early Modern EnglandActor, Audience and Performance, pp. 57 - 76Publisher: Cambridge University PressPrint publication year: 2022