Abstract
Blackness often appears contrary to an individual act or accumulation of acts, and thus theories of black identity in performance are different from theories of white identity. In the essay, I argue that normative desire plays a subversive role in the appearance of blackness because it functions to distort rather than to affirm the individual actions and histories that constitute blackness. By the Way, Meet Vera Stark shows how texts, films, and theatrical productions correlate black femaleness to racial fantasies rather than discrete acts of black individuals. The play reveals how theories of blackness in performance must account for racial fantasies, which disrupt linear time and therefore revise theories of performing racial identity in general.
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