By Elizabeth Maddock Dillon
Audiences in London eagerly watched the royal slave, Oroonoko, tortured on level, whereas audiences in Charleston and Kingston have been forbidden from observing a similar scene. Audiences in Kingston and manhattan urban exuberantly participated within the slaying of Richard III on level, enacting the increase of the "people," and local American leaders have been enjoined to monitor actors in blackface "jump Jim Crow." Dillon argues that the theater served as a "performative commons," staging debates over illustration in a political global in keeping with well known sovereignty. Her booklet is a capacious account of functionality, aesthetics, and modernity within the eighteenth-century Atlantic world.
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Extra resources for New World Drama: The Performative Commons in the Atlantic World, 1649–1849 (New Americanists)