Actors have alternated the roles of Iago and Othello in productions to stir audience interest since the nineteenth century. Iago twice uses the word "Barbary" or "Barbarian" to refer to Othello, seemingly referring to the Barbary coast inhabited by the "tawny" Moors. Othello, The Moor of Venice synonyms, Othello, The Moor of Venice pronunciation, Othello, The Moor of Venice translation, English dictionary definition of Othello, The Moor of Venice. [58], In 1997, Patrick Stewart took the role of Othello with the Shakespeare Theatre Company (Washington, D.C.) in a race-bending performance, in a "photo negative" production of a white Othello with an otherwise all-black cast. The exact date that Othello was written is unknown, though sources indicate that it was written between 1601 and 1610, sometime after the Moorish delegation. Othello was shown as jealous by his reaction to Desdemona, his wife, supposedly cheating. Third Gentleman But this same Cassio, though he speak of comfort Touching the Turkish loss, yet he looks sadly, And prays the Moor be safe; for they were parted Desdemona was played by American actress Rachel Brosnahan, Cassio was played by Finn Wittrock, and Emilia was played by Marsha Stephanie Blake. [55] His Othello was captured on record in 1964 with Jay Robinson as Iago and on video in 1981 with Ron Moody as Iago. The play was entered into the Register of the Stationers Company on 6 October 1621, by Thomas Walkley, and was first published in quarto format by him in 1622: One year later, the play was included among the plays in the First Folio of Shakespeare's collected plays. When Cassio identifies Roderigo as one of his attackers, Iago secretly stabs Roderigo to stop him revealing the plot. Othello, in full Othello, the Moor of Venice, tragedy in five acts by William Shakespeare, written in 1603–04 and published in 1622 in a quarto edition from a transcript of an authorial manuscript. W. H. Auden, for example, observed that "any consideration of [the play] must be primarily occupied, not with its official hero, but with its villain". In gruesome detail, Cinthio follows each blow, and, when the lady is dead, the Moor and his ensign place her lifeless body upon her bed, smash her skull, and then cause the cracked ceiling above the bed to collapse upon her, giving the impression the falling rafters caused her death. [25] Singh argued that, since people with dark complexions are common in the Mediterranean area, a Venetian senator like Brabantio being opposed to Desdemona marrying Othello for merely being swarthy makes no sense, and that the character of Othello was intended to be black. Recent actors who chose to "blacken up" include Laurence Olivier (1965) and Orson Welles. However, Iago's appearance and subsequent answers lead Emilia to confront the fact that her husband is … Nicholas Burt played the lead, with Charles Hart as Cassio; Walter Clun won fame for his Iago. Although Othello is a Moor, and although we often assume he is from Africa, he never names his birthplace in the play. There is no consensus over Othello's ethnic origin. [40] It has been argued that it is Othello's "otherness" which makes him so vulnerable to manipulation. The film version still holds the record for the most Oscar nominations for acting ever given to a Shakespeare film – Olivier, Finlay, Maggie Smith (as Desdemona) and Joyce Redman (as Emilia, Iago's wife) were all nominated for Academy Awards. Othello reenters and, then being convinced by Iago of his wife's unfaithfulness with his captain, vows with Iago for the death of Desdemona and Cassio, after which he makes Iago his lieutenant. Professor Arzola English 2322 5 July 2015 Outline. The Other is usually an outsider, someone … [22][23], The most notable American production may be Margaret Webster's 1943 staging starring Paul Robeson as Othello and José Ferrer as Iago. [15] Scholars differ in their explanation of these differences, and no consensus has emerged. Racism in Othello. Iago hates Othello for promoting a younger man named Cassio above him, whom Iago considers a less capable soldier than himself, and tells Roderigo that he plans to exploit Othello for his own advantage. The Moor! In Cinthio, the Moor commissions his ensign to bludgeon Desdemona to death with a sand-filled stocking. "[57] British blacking-up for Othello ended with Gambon in 1990; however the Royal Shakespeare Company didn't run the play at all on the main Stratford stage until 1999, when Ray Fearon became the first black British actor to take the part, the first black man to play Othello with the RSC since Robeson. This production was the first ever in America to feature a black actor playing Othello with an otherwise all-white cast (there had been all-black productions of the play before). The 1982 Broadway staging starred James Earl Jones as Othello and Christopher Plummer as Iago. When Emilia discovers the crime, she decries the Moor as a villain and at first refuses to believe that Iago has so evilly manipulated Othello. These include British performers Paul Scofield at the Royal National Theatre in 1980, Anthony Hopkins in the BBC Shakespeare television production (1981), and Michael Gambon in a stage production at Scarborough directed by Alan Ayckbourn in 1990. There is some debate amongst experts as to what race "Moor" refers to in Othello; however, the most common interpretation is that Othello was black and most likely of African descent. In marrying a Moor, Desdemona flies in the face of convention and faces criticism, which she handles unapologetically. Othello sees this, and Iago convinces him that Cassio received the handkerchief from Desdemona. In 1911, James Welton argued more evidence points to him being Sub-Saharan, though Shakespeare's intention is unknown. [14] It has been suggested that Abd el-Ouahed ben Messaoud ben Mohammed Anoun, Moorish ambassador of the Arab King of Barbary to Queen Elizabeth I in 1600, may have been an inspiration for Othello. While no English translation of Cinthio was available in Shakespeare's lifetime, it is probable that Shakespeare knew both the Italian original and Gabriel Chappuy's 1584 French translation. I thought that would be nice. James O'Neill also alternated the roles of Othello and Iago with Booth. Essay on Shakespeares Othello, the Moor of Venice Uup faculty and innovation. [9] An English translation by John Pory appeared in 1600 under the title A Geographical Historie of Africa, Written in Arabicke and Italian by Iohn Leo a More... in which form Shakespeare may have seen it and reworked hints in creating the character of Othello. [6], Cinthio's "Moor" is the model for Shakespeare's Othello, but some researchers believe the poet also took inspiration from the several Moorish delegations from Morocco to Elizabethan England circa 1600. [11] Modern-day readers and theatre directors lean away from a North African Moorish interpretation[12] but Shakespeare's textual references are unclear. I copied him exactly. I know his trumpet. The book was an enormous success in Europe, and was translated into many other languages,[8] remaining a definitive reference work for decades (and to some degree, centuries) afterwards. [33][34] The interpretation of the role is broadening, with theatre companies casting Othello as a woman or inverting the gender of the whole cast to explore gender questions in Shakespeare's text. Desdemona's relatives eventually find and kill him. In marrying a Moor, Desdemona flies in the face of convention and faces criticism, which she handles unapologetically. A plot is a series of events related to a central conflict, or struggle. Desdemona may have the choice of many suitable matches, but she chooses Othello, even despite his racial difference. This paper provides a brief outline of the reception history of Othello in Poland, focusing on the way the character of the Moor of Venice is constructed on the page, in the first-published nineteenth-century translation by Józef Paszkowski, and on the stage, in two twentieth-century theatrical adaptations that provide contrasting images of Othello: 1981/1984 televised Othello, dir. Othello is a character in Shakespeare's Othello (c. 1601–1604). Othello: Racism and the Moor William Shakespeare’s Othello uses the racial tensions of the period to enhance the execution of the play subtly. The senate is satisfied once Desdemona confirms that she loves Othello, but Brabantio leaves saying that Desdemona will betray Othello: "Look to her, Moor, if thou hast eyes to see. For knowledge of this, Shakespeare may have used Gasparo Contarini's The Commonwealth and Government of Venice, in Lewes Lewkenor's 1599 translation. Two of the most notable examples of this role swap were William Charles Macready and Samuel Phelps at Drury Lane (1837) and Richard Burton and John Neville at The Old Vic (1955). 492–507 from, Roy Proctor, "’Othello’ is Honest on Bare Stage,", Note also the character of Aaron the Moor in Shakespeare's play, http:/www.theculturenews.com/#!DAVID-SERERO-starring-as-OTHELLO-in-a-Moroccan-Style-this-June-in-New-York/cmbz/57282b750cf2051007a270c2, Abd el-Ouahed ben Messaoud ben Mohammed Anoun, Goodnight Desdemona (Good Morning Juliet), "Cinthioʹs Tale: The Source of Shakespeareʹs Othello", "Othello by William Shakespeare directed by Jude Kelly", "The Times 9 February 2004 "Black and white more show, "Independent article 25 August 1993. Except I had a pony tail. The stunt renewed interest in Booth's tour. Shakespeare possibly wrote The Tragedy of Othello, the Moor of Venice in 1603 or 1604, as we know it was first performed on November 1, 1604, at court. Iago then accuses Bianca of the failed conspiracy to kill Cassio. [18] Othello was also frequently performed as an Arab Moor during the 19th century. In an interview Gambon commented "I wasn't even the second gentleman in that. He elopes with Desdemona, the beautiful daughter of a respected Venetian senator. "[26] Marshall also played Othello in a jazz musical version, Catch My Soul, with Jerry Lee Lewis as Iago, in Los Angeles in 1968. Iago goads Cassio on to talk about his affair with Bianca, a local courtesan, but whispers her name so quietly that Othello believes the two men are talking about Desdemona. In III.III, he denounces Desdemona's supposed sin as being "black as mine own face". The "Ensign", however, continues to escape detection in Desdemona's death, but engages in other crimes while in Venice. In Shakespeare, Othello suffocates Desdemona, but in Cinthio, the "Moor" commissions the "Ensign" to bludgeon his wife to death with a sand-filled stocking. Title: Othello, the Moor of Venice Author: William Shakespeare Release Date: November, 1998 [Etext #1531] Last Updated: April 28, 2019 Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK OTHELLO, THE MOOR OF VENICE *** This etext was prepared by the PG Shakespeare Team, a team of about … Meanwhile, Roderigo complains that he has received no results from Iago in return for his money and efforts to win Desdemona, but Iago convinces him to kill Cassio. [28] This performance was recorded complete on LP, and filmed by popular demand in 1965 (according to a biography of Olivier, tickets for the stage production were notoriously hard to get). As Shakespeare regained popularity among nineteenth-century French Romantics, poet, playwright, and novelist Alfred de Vigny created a French translation of Othello, titled Le More de Venise, which premiered at the Comédie-Française on 24 October 1829. While Shakespeare's play was written only a few years afterwards, Honigmann questions the view that ben Messaoud himself was a significant influence on it. Black English actor Wil Johnson, known for his roles in Waking the Dead and Emmerdale, played Othello on stage in 2004. [41] Many critics have noted references to demonic possession throughout the play, especially in relation to Othello's seizure, a phenomenon often associated with possession in the popular consciousness of the day. Othello is an adaptation of the Italian writer Cinthio's tale "Un Capitano Moro" ("A Moorish Captain") from his Gli Hecatommithi (1565), a collection of one hundred tales in the style of Boccaccio's Decameron. Omitir Lo que aprenderás Develop a critical stance on Othello and its protagonist, the “Moor of Venice,” through the central motif of storytelling. Othello, a Moorish general of Venice, has promoted Cassio as his lieutenant; Iago, who was hoping for the promotion himself, makes plots against both Cassio and Othello to exact revenge. [29][30], Bevington, David and Kate, translators. [2] Most modern editions are based on the longer Folio version, but often incorporate Quarto readings of words when the Folio text appears to be in error. The "Ensign" then seeks revenge by disclosing to the "Squadron Leader" the "Moor's" involvement in Desdemona's death. During the scuffle, Iago comes from behind Cassio and badly cuts his leg. The parts of a plot are as follows: The exposition is the part of a plot that provides background information about the characters, setting, or conflict. Conversely, many scholars have seen Iago as the anti-hero of the piece. Robeson had first played the role in London in 1930 in a cast that included Peggy Ashcroft as Desdemona and Ralph Richardson as Roderigo,[49] and would return to it in 1959 at Stratford-upon-Avon with co-stars Mary Ure, Sam Wanamaker and Vanessa Redgrave. [35][36] Carlo Rota, of Mediterranean (British Italian) heritage, played the character on Canadian television in 2008. Iago now persuades Othello to be suspicious of Cassio and Desdemona. Produits pour être tenu au. Othello was also one of the twenty plays performed by the King's Men during the winter of 1612, in celebration of the wedding of Princess Elizabeth and Frederick V, Elector Palatine.[47]. The first certainly known performance occurred on 1 November 1604, at Whitehall Palace in London, being mentioned in a Revels account on "Hallamas Day, being the first of Nouembar", 1604, when "the Kings Maiesties plaiers" performed "A Play in the Banketinge house at Whit Hall Called The Moor of Venis". This page was last edited on 17 February 2021, at 10:03. When Laurence Olivier gave his acclaimed performance of Othello at the Royal National Theatre (UK) in 1964, he had developed a case of stage fright that was so profound that when he was alone onstage, Frank Finlay (who was playing Iago) would have to stand offstage where Olivier could see him to settle his nerves. There also have been over a dozen film adaptations of Othello. Lois Whitney, "Did Shakespeare Know Leo Africanus? All the line used to listen to The Archers. He is arrested and dies after being tortured. People like that are easy to manipulate. "[6][7] Various uses of the word "black" (for example, "Haply for I am black") are insufficient evidence for any accurate racial classification, Honigmann argues, since "black" could simply mean "swarthy" to Elizabethans. [25], Michael Neill, editor of an Oxford edition, notes that the earliest critical references to Othello's colour (Thomas Rymer's 1693 critique of the play, and the 1709 engraving in Nicholas Rowe's edition of Shakespeare) assume him to be Sub-Saharan, while the earliest known North African interpretation was not until Edmund Kean's production of 1814. [1] It also resembles an incident described in the earlier tale of "The Three Apples", one of the stories narrated in the One Thousand and One Nights (Arabian Nights). [3], There is no consensus over Othello's race. [29] Regardless of what Shakespeare intended by calling Othello a "Moor" – whether he meant that Othello was a Muslim or a black man or both – in the 19th century and much of the 20th century, many critics tended to see the tragedy in racial terms, seeing interracial marriages as "aberrations" that could end badly. Iago refuses to explain his motives, vowing to remain silent from that moment on. [67], In 2017, Ben Naylor directed the play for the Pop-up Globe in Auckland, New Zealand, with Māori actor Te Kohe Tuhaka in the title role, Jasmine Blackborow as Desdemona and Haakon Smestad as Iago. When Othello mentions the handkerchief as proof, Emilia realizes what her husband Iago has done, and she exposes him, whereupon he kills her. [50] W. A. Darlington of The Daily Telegraph ranked Robeson's Othello as the best he had ever seen[51] while the Daily Express, which had for years before published consistently scathing articles about Robeson for his leftist views, praised his "strong and stately" performance (though in turn suggested it was a "triumph of presence not acting").[52].
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