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Dubai Opera adds an extra date for Othello
Giovan Battista Giraldi — Thomas Rymer — literary critic and historian. Edmund Kean — actor. Othello may be alluded to as a type of morbid jealousy. Subjects: Literature — Shakespeare studies and criticism. William Shakespeare — playwright and poet.
DATE. PERIOD. OTHELLO CASTING CALL ASSIGNMENT. Please cast each of the the following major characters in Othello. You can use drawings/photos.
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Othello and Desdemona: An Analysis
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Othello, the Moor of Venice
Date written: · Read the full original Othello text · Read Othello in simple, modern English · Genre classification: Othello is regarded as a tragedy. · Othello.
Given its varied and enduring themes of racism, love, jealousy, betrayal, revenge, and repentance, Othello is still often performed in professional and community theatre alike, and has been the source for numerous operatic, film, and literary adaptations. Roderigo, a wealthy and dissolute gentleman, complains to his friend Iago, an ensign, that Iago has not told him about the secret marriage between Desdemona, the daughter of a senator named Brabantio, and Othello, a Moorish general in the Venetian army.
Roderigo is upset because he loves Desdemona and had asked her father, Brabantio, for her hand in marriage. 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. Iago convinces Roderigo to wake Brabantio and tell him about his daughter’s elopement.
Meanwhile, Iago sneaks away to find Othello and warns him that Brabantio is coming for him. Brabantio, provoked by Roderigo, is enraged and will not rest until he has confronted Othello, but he finds Othello’s residence full of the Duke of Venice’s guards, who prevent violence. News has arrived in Venice that the Turks are going to attack Cyprus , and Othello is therefore summoned to advise the senators. Brabantio has no option but to accompany Othello to the Duke’s residence, where he accuses Othello of seducing Desdemona by witchcraft.
Othello defends himself before the Duke of Venice , Brabantio’s kinsmen Lodovico and Gratiano, and various senators.
Othello, first edition
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Plot summary of and introduction to William Shakespeare’s play Othello, with links to online texts, digital images, and other resources.
In a period of ten years, Shakespeare wrote a series of tragedies that established him, by universal consent, in the front rank of the world’s dramatists. Critics have praised either Hamlet or King Lear as the greatest of these; Ernst Honigmann, in the most significant edition of the play for a generation, asks: why not Othello?
The third of the mature tragedies, it contains, as Honigmann persuasively demonstrates, perhaps the best plot, two of Shakespeare’s most original characters, the most powerful scene in any of the plays, and poetry second to none. Honigmann’s cogent and closely argued introduction outlines the reasons both for a reluctance to recognize the greatness of Othello and for the case against the play. This edition sheds new light on the text of the play as we have come to know it, and on our knowledge of its early history.
Honigmann examines the thematic portrayal of feminism, morality, and otherness. He provides a general character criticism, but delves more deeply into Othello, Iago, Desdemona, and Emilia in individual sections. He discusses the play in performance and the relationship between reading it and seeing it. He also explores topics such as its date, sources, and the conundrum of “double time”.
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They are in love, but Othello can’t get past his self-doubt as to why such a lovely woman would love him. This leaves his mind susceptible to the tragic poisoning by the scheming Iago , even though Desdemona has done nothing wrong. Too often played as a weak character, Desdemona is strong and bold, especially when it comes to Othello. She describes her commitment to him:. This quote demonstrates Desdemona’s strength and bravery.
Her father appears to be a controlling man, and she stands up to him.
ADG Europe presents Othello the annual outdoor performance at Utstein monastery in (The date for the performance of Othello at Utstein.
There were some people of African or Moorish descent in London at the time, including some high-ranking ambassadors to the Tudor court, but they were few, and considered foreign and exotic. Othello remained a popular play in the Shakespearean repertory throughout its first centuries of existence. The title role always dominated the play by comparison with more recent productions, which have given greater attention to Iago, Desdemona and Emilia.
Othello was typically played with nobility and tragic dignity by the leading actor of the company. All recorded Othellos before the nineteenth century were white actors, though their makeup suggested a range of ethnic origins for Othello, from the Arab world to Sub-Saharan Africa. The greatest of these actors was probably Edmund Kean, the leading theatrical figure of the Romantic period in Britain.
Lacking the neoclassical majesty of some of his predecessors, Kean changed the conception of the role, making Othello an explosive figure of passionate emotion. Though small of stature and weak of voice, Kean poured a frightening intensity of feeling into the role; he actually collapsed and died midway through a performance. Though he grew up in the US, he spent most of his career in Europe, where more tolerant racial attitudes afforded him the opportunity to play a wider range of roles—he achieved distinction as Macbeth, Lear, and Shylock as well as Othello.
He also, to be sure, played a range of stereotypical black characters in low comedy; after Othello, his most famous role was Mungo, a drunken slave in a musical farce called The Padlock. But his Othello was highly regarded, especially on the continent, where he often played with local companies who spoke no English.
Othello Single Women
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Boston R. Badger, It is at this point that the second of the great problems of the play emerges. The proper understanding of the relations of Othello and Desdemona is equally important with the question of the relations of lago and Othello. The exposition of these two elements of the play is set forth by the dramatist with his usual clearness, and at considerable length, but has nevertheless escaped the notice of the critics, or has been discounted as a factor in the interpretation. But it is high time to learn that whatever Shakespeare put deliberately into his dramas is to be considered in the interpretation.