DOCSLIB.ORG

STUDY GUIDE Act One 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
STUDY GUIDE Act One 1 STUDY GUIDE Act One 1. What is Iago's complaint in Scene I? Michael Cassio was named lieutenant (#2 to Othello). Iago believes he is a better soldier and more deserving, than Cassio (the “book smart” warrior) (All talk and no action) “preferment goes by letter of affection” (It’s who you know). 2. Who is Brabantio, and why do Iago and Roderigo awaken him in the middle of the night? Brabantio is Desdemona’s father; he is “robbed” by a “dark” thief—Iago (hidden and playing on Brabantio’s prejudices) makes many “animal” references to Iago & Desdemona thus taking any beauty out of their relationship: “an old black ram is tupping your white ewe:” “you’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you;” “your daughter and the Moor are now making the beast with two backs” 3. Why does Iago leave Roderigo at Brabantio's house? Iago must leave (and has remained hidden because he cannot appear to be against the Moor. He must appear to be nothing but loyal to Othello. 4. What is Roderigo’s previous relationship with Brabantio and Desdemona? Roderigo courted and is in love with Desdemona. She rejected him and he father is annoyed by his continuing to court her and especially annoyed when awaken in the middle of the night by Roderigo. 5. What is Brabantio's reaction to Othello's marriage to Desdemona? Brabantio is entirely enraged and believes his daughter must be under some “spell” or has been drugged to have decided to sneak off and marry the Moor (such an animal). He gathers his kinsmen and goes to her rescue. He goes to “let loose the justice of the State.” 6. Why does the Duke send for Othello? The Duke sends for Othello (the General) because the Turks are preparing to invade Cyprus. Othello and the troops must prepare the warships for departure. 7. What danger is Cyprus facing? The Turks are preparing to invade Cyprus, critical to the trade and economy of Venice. 8. Brabantio complains to the Duke about Othello's marriage to Desdemona. After listening to both sides of the story, what is the Duke's reply? The Duke admits his own daughter would be won by the valiant stories of Othello. “I think this tale would win my daughter too.” (Act I.iii.-p8) The Duke admires Othello’s skill, nobility and bravery in battle and war affairs. 9. What is Roderigo's complaint, and what is Iago's reply to it? Roderigo is a train-wreck. He is devastated and emotionally broken. He feels ha has no chance for winning Desdemona at this point and wants to kill himself. Iago’s attitude is “just get over it.” In his 28 years he has never seen a “love” worth dying for and has “never found man that knew how to love himself.” “Ere I say I would drown myself for the love of a Guinea-hen, I would change my humanity with a baboon.” (Act I.iii.p13). “Man UP!” “It is merely a lust of blood and a permission of the will. Come, be a man: drown thyself! Drown cats and blind puppies.” (ActI.iii.p14) Furthermore, Desdemona’s love for the Moor will fade; be there and you will win her. Iago also agrees to support Roderigo in this matter because he, too, hates the Moor. 10. Who is Othello, and why is he so respected by the Duke? Othello does not “act” like a stereotypical “moor” or black man of Shakespeare’s times. The Duke respects his military accomplishments and trusts him more than any other as a General to protect the Venetians. The Duke admits that even his own daughter could fall for his honest charms and he further goes on to say to Brabantio, “If virtue no delighted beauty lack, your son-in-law is far more fair than black.” (Act I.iii.p12) 11. What warning does Brabantio give to Othello? “Come hither, Moor: / I here do give thee that with all my heart/ Which, but thou hast already, with all my heart/ I would keep from thee.—For your sake, jewel,/ I am glad at soul I have no other child;/ For thy escape would teach me tyranny, / to hang clogs on them.—I have done, my lord. (Act I.iii.p8). Brabantio does not like it, but must give his daughter to the Moor. Because he reluctantly gives his “jewel” the implication is a warning to treasure the jewel as he has or “else”. [“hang clogs” literally block, obstruction—but also—literally a weight attached to restrict an animals movement.] Brabantio also warns him to beware because she has deceived her father – she is very likely to deceive him as well. “Look to her, Moor, if thou hast eyes to see: / She has deceiv’d her father, and may thee.” (Act I.iii.p12). 12. Othello and Desdemona have just been married. Will they stay together or separate? Othello and Desdemona both strongly profess their love for each other in Act I. Responses, however, will vary based on students’ prior and personal experiences and knowledge. 13. What does Iago say must happen to Desdemona? She must have change. Her love for the Moor will fade. “It cannot be that Desdemona should long continue her love for the Moor,” “…These Moors are changeable in their wills...” “When she is sated with his body, she will find the error of her choice.” Iago advises Roderigo to make money and be ready for her to change. 14. Why does Iago “hate the Moor”? Iago hates the Moor mostly out of jealousy and the fact than he has not chosen Iago as his lieutenant. He would not waste his time on such a sniveling “snipe” (fool) as Roderigo if he could not use him as a pawn for his own profit. In his final soliloquy of Act I, Iago professes his hatred for the Moor and further expresses his suspicions about the Moor’s infidelity with his wife. He articulates his contrived plan to topple the great Othello by turning him against his trusted lieutenant, Cassio. Iago confidently feels that Othello, who readily trusts Cassio, “can be easily lead by the nose” into believing that Cassio is too close to Desdemona, thus making the Moor, completely jealousy and furious with Cassio. This will open the door for Iago to be the most trusted “man” in Othello’s eyes. 15. How would you grade Iago on racial insensitivity? It is quite apparent and clear by the end of Act I that Iago is completely insensitive. He not only lacks racial sensitivity, but sensitivity for all humanity. Iago loves or is sensitive to no one. Act Two 1. Where are we as Act 2 begins? What is the situation at sea? Act II begins at a seaport in Cyprus. Terrible storms are at sea as the Venetian ships arrive. 2. What has happened to the Turkish fleet? The Turkish fleet was separated and completely destroyed by the tempests at sea because they were not bayed and shelters. “News, lads! Our wars are done. The desperate tempest hath so bang’d the Turks/ That their designment halts” (Act II.i.p2). 3. Which ship from Venice arrives first? Michael Cassio’s ship arrives first. 4. Which ship arrives second? Why is it surprising that it arrives before Othello’s? Iago’s ship arrives second. Othello’s ship and Cassio’s ship were traveling together but became separated during the storms. 5. What does the discussion between Desdemona and Emilia tell us about their relationship? Their exchanges reveal a girlish closeness. They are fond of each other. 6. Who is Emilia? Emilia is Iago’s and attendant to Desdemona. 7. How does Cassio greet Desdemona and Emilia? Cassio greets the women with great courtesy and he is happy that they have arrived safely. 8. Why does Iago want Roderigo to anger Cassio? Iago wants Roderigo to engage Cassio into a fight. If Cassio appears to neglect his duties (assigned by Othello) it will contribute to his losing favor in Othello’s eyes. 9. What is the purpose of Iago's plan? Ultimately, his plan is to topple Othello, by winning Othello’s favor and trust. His first plan of action is to use Roderigo as a pawn to lure Cassio into doing something rash, thus losing favor with Othello. As Cassio loses favor with Othello; Iago gains his support. 10. What evidence is Iago using to rationalize his plan? Is his evidence solid? Iago feels cheated by the selection of the “book-smart” Cassio’s selection as lieutenant. He finds the selection not only unjustified, but completely incomprehensible. Because he cannot be trusted, Iago trusts no one, not even his own wife. He also suspects that both Othello and Cassio were lecherous with his wife. He is absolutely incapable of trust and entirely paranoid. He assumes everyone is as manipulative and deceitful as he is. Iago has no solid evidence; it is pure speculation and psychological instability on his part. 11. What keeps Roderigo from seeing the truth instead of Iago’s lies? Roderigo is easily manipulated by Iago because of his lovesickness for Desdemona. Iago simply uses Roderigo’s weaknesses against him. “Now, my sick fool Roderigo, / Whom love hath turn’d almost wrong side out.” (Act II.iii.p3) Roderigo wants to believe Iago’s lies because he desperately wants them to be true. 12. What emotion seems to be governing Iago’s thoughts and actions? Pure and utter jealousy and hated consume Iago’s thoughts.
Load more

Recommended publications
  • Otello Program
    GIUSEPPE VERDI otello conductor Opera in four acts Gustavo Dudamel Libretto by Arrigo Boito, based on production Bartlett Sher the play by William Shakespeare set designer Thursday, January 10, 2019 Es Devlin 7:30–10:30 PM costume designer Catherine Zuber Last time this season lighting designer Donald Holder projection designer Luke Halls The production of Otello was made possible by revival stage director Gina Lapinski a generous gift from Jacqueline Desmarais, in memory of Paul G. Desmarais Sr. The revival of this production is made possible by a gift from Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 345th Metropolitan Opera performance of GIUSEPPE VERDI’S otello conductor Gustavo Dudamel in order of vocal appearance montano a her ald Jeff Mattsey Kidon Choi** cassio lodovico Alexey Dolgov James Morris iago Željko Lučić roderigo Chad Shelton otello Stuart Skelton desdemona Sonya Yoncheva This performance is being broadcast live on Metropolitan emilia Opera Radio on Jennifer Johnson Cano* SiriusXM channel 75 and streamed at metopera.org. Thursday, January 10, 2019, 7:30–10:30PM KEN HOWARD / MET OPERA Stuart Skelton in Chorus Master Donald Palumbo the title role and Fight Director B. H. Barry Sonya Yoncheva Musical Preparation Dennis Giauque, Howard Watkins*, as Desdemona in Verdi’s Otello J. David Jackson, and Carol Isaac Assistant Stage Directors Shawna Lucey and Paula Williams Stage Band Conductor Gregory Buchalter Prompter Carol Isaac Italian Coach Hemdi Kfir Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Assistant Scenic Designer, Properties Scott Laule Assistant Costume Designers Ryan Park and Wilberth Gonzalez Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department; Angels the Costumiers, London; Das Gewand GmbH, Düsseldorf; and Seams Unlimited, Racine, Wisconsin Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses strobe effects.
    [Show full text]
  • Othello, 1955
    University of Montana ScholarWorks at University of Montana Montana Masquers Event Programs, 1913-1978 University of Montana Publications 11-16-1955 Othello, 1955 Montana State University (Missoula, Mont.). Montana Masquers (Theater group) Follow this and additional works at: https://scholarworks.umt.edu/montanamasquersprograms Let us know how access to this document benefits ou.y Recommended Citation Montana State University (Missoula, Mont.). Montana Masquers (Theater group), "Othello, 1955" (1955). Montana Masquers Event Programs, 1913-1978. 105. https://scholarworks.umt.edu/montanamasquersprograms/105 This Program is brought to you for free and open access by the University of Montana Publications at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Masquers Event Programs, 1913-1978 by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. William Shakespeare's Fifty-First Season MONTANA MASQUERS Present William Shakespeare's OTHELLO LEROY W. HINZE, Director CLEMEN M. PECK, Designer and Technical Director •Original Music by MONROE C. DEJARNETTE CAST PRODUCTION STAFF In Order of Appearance Assistant to the Director....Sheila Sullivan Roderigo...............................................Harold Hansen Production Manager for touring company Stage Manager ..................... Ray Halubka | Iago............................................William Nye Electrician .......... ...................Bruce Cusker Brabantio ................................Bruce
    [Show full text]
  • The Tragedy of Othello, the Moor of Venice
    The Tragedy of Othello, The Moor of Venice. DRAMATIS PERSONAE Duke of Venice [i.e. the Doge] Brabantio, a senator Othello, a noble Moor in the service of the Venetian state Cassio, his lieutenant Iago, his ancient Roderigo, a Venetian gentleman Montano, Othello’s predecessor in the government of Cyprus Desdemona, daughter to Brabantio and wife to Othello Emilia, wife to lago Bianca, mistress to Cassio Written about 1603 Scene: Venice (I act), Cyprus (II, III, IV, V acts) Time: between 1489 (when Catherine Cornaro abdicated and Cyprus became a colony of the Republic of Venice) and 1571 (when Cyprus was conquered by the Ottomans). Most probably in the early 16th century. Sources: Giambattista Giraldi Cinthio (Cinzio)’s (1504-1573) novella “Un capitano moro”, in Hecatommithi (1565), translated into French in 1584, into English only in 1753. 1. ACT I, scene 1 A street in Venice. Night-time […] Rod. What, ho, Brabantio! Signior Brabantio, ho! lago. Awake! what, ho, Brabantio! thieves! thieves! thieves! Look to your house, your daughter and your bags! Thieves! thieves! Brabantio appears above, at a window. Bra. What is the reason of this terrible summons? What is the matter there? Rod. Signior, is all your family within? Iago. Are your doors lock'd? Bra. Why, wherefore ask you this? Iago. 'Zounds, sir, you're robb'd; for shame, put on your gown; Your heart is burst, you have lost half your soul; IP Even now, now, very now, an old black ram Is tupping your white ewe. Arise, arise; Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you: Arise, I say.
    [Show full text]
  • An Interpretation of Iago
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1953 An Interpretation of Iago Daniel Clayton Schario Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Schario, Daniel Clayton, "An Interpretation of Iago" (1953). Master's Theses. 1271. https://ecommons.luc.edu/luc_theses/1271 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1953 Daniel Clayton Schario .u DfBRPRE!ATION OF' IAGO 'tIJ D. Cla7ton Scha.r1o.. S. J' • A !besi. Submitted to the Pacult,. or the Graduate School of L0'101a Un!veNi t7 in Partial J\1ltl1lllent of the Req,u1Jl1bente to." the DegHe of Master ot Art. LIFE DanIel Clayton Seharl0, S. J., was bom In Canton, Ohio, April 15, 1923. He was graduated from Oanton McKinley High School, June, 1941. After graduation, he spent one year at st. Mary's College, St. Mary Kentucky, before entering the NoVitiate of the Sacred Heart, Miltord, Ohio, in August, 1943. He was graduated tram Loyola University with the degree ot Bachelor ot Arts in June, 1948. At this tIme, he enrolled in the Graduate School ot Loyola UniversIty and took courses in English and Philolophy. Since 1950, the author has been teaching English at the UniversIty ot Detroit High School, Detroit, Miohigan.
    [Show full text]
  • William Shakespeare's the TAMING of the SHREW a STUDY GUIDE
    The Classic Theatre of San Antonio Presents William Shakespeare’s THE TAMING OF THE SHREW Directed by Diane Malone A STUDY GUIDE Prepared by The Classic Theatre of San Antonio November 2013 TABLE OF CONTENTS Forward by Diane Malone, Director/Designer .............................................................................1 The Dramaturgical Research Process by Timothy Retzloff, Dramaturg ...................................................................................2 About William Shakespeare, Playwright (1564-1616) .......................................................4 Principal Characters .............................................................................................................5 Synopsis of the Play ...............................................................................................................6 Map of Renaissance Italy .....................................................................................................8 Cast, Production Staff, and Theatre Staff ..........................................................................9 Interviews with Some of the Cast ......................................................................................10 Reflections on the Play and Performance .........................................................................15 Rehearsal Photographs .......................................................................................................16 Works Cited ........................................................................................................................18
    [Show full text]
  • Verdi Otello
    VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers;
    [Show full text]
  • Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
    Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles.
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • The Unconsummated Marriage in “Othello”
    Goodfellow 1 K. A. Goodfellow Professor Henderson English 102 5 May 200X A Guiltless Death: The Unconsummated Marriage in Othello Although Desdemona and Othello are truly in love when they marry, they are unable to consummate their marriage in William Shakespeare's Othello. Because their marriage was tragically short (only three days), there were few opportunities for them to be together alone. When the opportunity did present itself, unforeseen circumstances arose and the moment was lost. This being the case, in murdering Desdemona, Othello kills a virginal wife -- a deeper irony considering that he murders her because he believes her to be unchaste. Desdemona is faithful before and during her marriage to Othello. Her own words defend the fact that she is an "honest" wife. After Othello accuses her for the first time of being a whore, Desdemona responds to Iago's queries of why Othello would thus accuse her with "I do not know. I am sure I am none such" (4.2.130). She continues to defend her virtue up to the moment of her death when she says "A guiltless death I die" (5.2.126). While Desdemona's words alone may not be enough proof of her faithfulness to Othello, her attendant, Emilia, also denies Othello's accusations of Desdemona. When Othello's questions Emilia about Desdemona's honesty, she replies "For if she be not honest, chaste, and true,/There's no man happy; the purest of their wives/ Is foul as slander" (4.2.18-20). As Desdemona's longtime servant, she is more aware than anyone Copyright (c) 2005, Pearson Education Inc., publishing as Pearson Longman.
    [Show full text]
  • Jealousy and Destruction in William Shakespeare's
    Crossing the Border: International Journal of Interdisciplinary Studies Volume 4; Number 1; 15 April 2016 ISSN 2350-8752 (Print); ISSN 2350-8922 (Online) JEALOUSY AND DESTRUCTION IN WILLIAM SHAKESPEARE’S OTHELLO Ram Prasad Rai (Nepal) ABSTRACT Othello is honest. He wants to establish an order and peace in the society. He falls in love with a white lady, Desdemona. Despite the discontentment of Desdemona’s father Brobantio, they marry each other. Iago, an evil-minded man, is not happy with the promotion of Cassio, a junior o! cer to Iago, to lieutenant’s post in support of the chief Othello. Iago becomes jealous to Cassio and plans to destroy the relation between Othello and Cassio in any way it is pos- sible. He uses Roderigo, a rejected suitor to Desdemona and Emilia, the innocent wife of Iago in his evil plot. Iago treacherously makes Desdemona’s handkerchief, a marriage gi" from Othello, reach in Cassio through Emilia. # en he notices Othello about the Apresence of the handkerchief in Cassio as an accusation of Desdemona’s falling in love with Cassio. In reality, both Cassio and Desdemona are innocent. # ey are honest and loyal to their moral position. But because of jealousy grown in Othello by Iago, Othello plans to murder his kind and truly loving wife and his dutiful junior o! cer Cassio. Othello kills Desdemona and Iago kills his wife Emilia as she discloses the reality about Iago’s evilness. Othello kills himself a" er he knows about Iago’s treachery. As a result, all the happiness, peace and love in the families of Othello and Iago get spoilt completely because of just jealousy upon each other.
    [Show full text]
  • Gesture and Movement in Silent Shakespeare Films
    Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By Jennifer Rebecca Collins, B.A. Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Alan Woods, Advisor Janet Parrott Copyright by Jennifer Rebecca Collins 2011 Abstract The purpose of this study is to dissect the gesticulation used in the films made during the silent era that were adaptations of William Shakespeare's plays. In particular, this study investigates the use of nineteenth and twentieth century established gesture in the Shakespearean film adaptations from 1899-1922. The gestures described and illustrated by published gesture manuals are juxtaposed with at least one leading actor from each film. The research involves films from the experimental phase (1899-1907), the transitional phase (1908-1913), and the feature film phase (1912-1922). Specifically, the films are: King John (1899), Le Duel d'Hamlet (1900), La Diable et la Statue (1901), Duel Scene from Macbeth (1905), The Taming of the Shrew (1908), The Tempest (1908), A Midsummer Night's Dream (1909), Il Mercante di Venezia (1910), Re Lear (1910), Romeo Turns Bandit (1910), Twelfth Night (1910), A Winter's Tale (1910), Desdemona (1911), Richard III (1911), The Life and Death of King Richard III (1912), Romeo e Giulietta (1912), Cymbeline (1913), Hamlet (1913), King Lear (1916), Hamlet: Drama of Vengeance (1920), and Othello (1922). The gestures used by actors in the films are compared with Gilbert Austin's Chironomia or A Treatise on Rhetorical Delivery (1806), Henry Siddons' Practical Illustrations of Rhetorical Gesture and Action; Adapted to The English Drama: From a Work on the Subject by M.
    [Show full text]
  • Othello, a Tragedy Act 1: Palace
    Othello, A Tragedy Act 1: Palace Set - The Duke's Court Iago and Roderigo have started a rumor that Othello won over Desdemona through witchcraft. Before the Duke of Venice, Othello explains that he won Desdemona through his stories of adventure and war. Desdemona confirms this, and insists that she loves Othello. Act 2: Street Set - A Drunkard's Bar Iago gets Cassio drunk and convinces him to start a fight with a rival officer, Roderigo. Cassio accidentally wounds the Governor, and Othello is summoned. Iago tells Othello that it was Cassio that started the fight, and Othello strips Cassio of his title. Iago then tells Cassio that he should attempt to win over Othello through Desdemona. Act 3: Palace Set - Royal Chambers Cassio appeals to Desdemona to help him earn Othello's forgiveness. He leaves before Othello returns, however, and Iago uses this to convince Othello that Desdemona has betrayed him with Cassio. Desedemona makes things worse by attempting to convince Othello to forgive Cassio. Iago steals Desdemona's handkerchief and plants it on Cassio. Act 4: Palace Set - Private Chambers Othello growing suspicious of Desdemona, asks Iago for evidence. Iago suggests that he has seen Cassio with Desdemona's handkerchief. Othello asks Desdemona for her handkerchief, which she confesses that she has lost, and attempts to change the subject by pleading Cassio's case. Act 5: Palace Set - Private Chambers Othello confronts Desdemona, but does not believe her story. He kills her. After her death, he realizes what has happened and confronts Iago. They duel and both are wounded.
    [Show full text]