Abstract
Examining William Shakespeare's Titus Andronicus, William Heminge's The Fatal Contract, and Elkanah Settle's Love and Revenge, this article argues that the seventeenth-century English stage imagines blackness as fluid and transferable because of the materials used in its production. These cosmetics are imagined as being potentially moveable from one surface to another. The article considers the intersection between the materials used to recreate blackness and its semiotic values, focusing on the relationship between black bodies and female bodies. It argues that the materials used in the recreation of these bodies inform and are informed by the panoply of discourses surrounding them.
© 2017, published in Early Theatre. This is the final published version of the article (version of record) uploaded in accordance with the publisher’s self- archiving policy. It first appeared online at the link below.
© 2017, published in Early Theatre. This is the final published version of the article (version of record) uploaded in accordance with the publisher’s self- archiving policy. It first appeared online at the link below.
| Original language | English |
|---|---|
| Pages (from-to) | 77-95 |
| Number of pages | 18 |
| Journal | Early Theatre: A Journal associated with the Records of Early English Drama |
| Volume | 20 |
| Issue number | 1 |
| DOIs | |
| Publication status | Published - 10 Jul 2017 |