![]() ![]() The tropes of seduction that center on the willing submission of the seduced-which have been commonly used to describe the dynamics between Margaret and Suffolk as well as Anne and Richard-mitigate a sense of the women’s lack of self-determination, and turn scenes of coercion into erotic challenges that prove the masculinity of white men. The recognition of the connections between tyranny and white male privilege, furthermore, alerts viewers to the ways the romance of seduction narratives have been used to mask sexual coercion and violent encounters. ![]() A race-conscious interpretation of the casting of Sophie Okonedo as Margaret of Anjou in The Hollow Crown: The Wars of the Roses (2016) allows audiences to consider how the privileges of white masculinity have been linked to the ability to access, own, exchange, and seize the bodies of others. Instead, it is precisely through recognizing the history inscribed on bodies, especially through racial difference, that contemporary performances have the potential to challenge audiences to confront ingrained forms of discrimination and the legacies of privilege and of violence we have inherited. This article proposes that claims of “colorblind” casting detract from the social justice potential of Shakespearean adaptations.
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