Putting Strangeness in Perspective

I consider ‘strangeness’ as a performative phenomenon directly related to the experimental multiperspectivity of the early Stuart stage. As such, it is not a quality ascribed to individual characters, but the norm ruling interactions between them: all characters are strangers to each other. This constellation drives theatrical agon and suspense, turning spectators into privileged witnesses to an all-encompassing strangeness of which characters are often unaware. This theatrical take on strangeness supplements and potentially undercuts contextual and thematic explanations of the early modern stage’s fascination with the odd and exotic. Thus in John Fletcher’s The Island Princess (1621), the conflict between Christianity and Islam ostensibly depicted in this tragicomedy is challenged, if not superseded, by a more existential and ubiquitous notion of strangeness at the play’s core.