This international analysis of theatrical case studies illustrates the ways that theater was an arena both of protest and, simultaneously, racist and imperialist exploitations of the colonized and enslaved body.

Sarah J. Adams is an FWO-postdoctoral researcher at the Department of Literary Studies of Ghent University, where she studies blackface performances on the comic stage of the Low Countries before the heyday of minstrel culture. She is the author of Repertoires of Slavery (Amsterdam University Press, 2023).

Jenna M. Gibbs is an Associate Professor of History at Florida International University. She is the author of Performing the Temple of Liberty (Johns Hopkins University Press, 2014). Gibbs is now working on two monographs, one on the global Latrobe family and the other on the past and present African Grove Theatre.

Wendy Sutherland is a Professor of German & Black European and Diaspora Studies at New College of Florida. She is the author of Staging Blackness and Performing Whiteness in Eighteenth-Century German Drama (Routledge, 2016). One of her current projects centers on mapping sites of slavery and colonialism in Germany.

Introduction: Framing the Stage: Structures of Race, Imperial Oppression, and Performances of Blackness, 1770-1850 Part 1: Slavery, Revolt, and Abolitionism 1. Slavery, Abolition, and Civic Education in French Boulevard Theater during the French Revolution 2. The Legitimacy of Resistance in Dutch Abolitionist Theater 3. The Politics of Truth-Telling: Black Resistance and the Transatlantic World in Nesselrode's Drama Adaptation of the Ziméo-Plot Zamor und Zoraide, 1778 4. "Our Turn Next": Slavery and Freedom on French and American Stages, 1789-1799 Part 2: Race, Nation, and Empire 5. Staging Slavery "at Home": Race and Homosocial Economies in Ernst Lorenz Rathlef's Die Mohrinn zu Hamburg, 1775 6. Performing The Revenge in Sydney: Blackface and Blackness in an Abolitionist Empire 7. The Representation of Stage "Blackness" in Theodor Körner's Toni, 1812 8. "O pity the Black Man, he is Slave in Foreign Country": Danish Performances of Colonialism and Slavery, 1793-1848 Part 3: Black Agency, Performance, and Counter-Theater 9. Slavery as Part of the Scene: The Presence of Black and Mestizo Actors and Actresses at the Late Eighteenth-Century Vila Rica Opera House 10. Counter-Voices in the Tropics: Theater and Vernacular Performance in Rio de Janeiro 11. Protesting Slavery, Asserting Freedom, and Defying Racism: The African Grove Theatre in New York, 1821-1824 12. Epilogue: Staging Slavery, Re-Centering, and Re-Spotlighting Blackened People