This chapter examines how early modern plays, if viewed as kinetic maps, articulate how an actor’s body reflects emotion through a range of gestural utterances that can perhaps be felt kinetically by audiences; it does so through the lens of race and performance. Taking Burbage’s performance of Othello as a case study and Imtiaz Habib’s documentary evidence of black lives in Tudor and Stuart England, Karim-Cooper speculates about black presence in the audience. As such theorizing about the relationship between movement, racial impersonation and audience response can unearth a reciprocal dynamic that forms the basis of early modern theatrical performance.