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Home , Andrew Davies (writer), Bianca (Othello), Stephen Dillane, The Merchant of Venice

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TITLE A Teacher's Guide for "The Merchant of " and "." INSTITUTION WGBH-TV, Boston, MA.; Corporation for Public Broadcasting, Washington, DC. PUB DATE 2000-00-00 NOTE 21p.; Funded by Exxon Mobil Corporation. Produced by WGBH Educational Foundation Educational Programming and Outreach Department. AVAILABLE FROM Educational Print and Outreach, WGBH, 125 Western Ave., Boston, MA 02134. Tel: 617-492-2777, ext. 3848; e-mail: [email protected]; Web site: http://www.pbs.org/masterpiece. PUB TYPE Guides Classroom Teacher (052) EDRS. PRICE MF01/PC01 Plus Postage. DESCRIPTORS Class Activities; *Classics (Literature); *Critical Viewing; *Drama; Interdisciplinary Approach; Learning Activities; Secondary Education IDENTIFIERS Film Viewing; *Merchant of Venice; *Othello; Shakespeare (William)

ABSTRACT has influenced most, if not all, Western playwrights. His techniques, themes, characters, and plots are contained in much of what is produced today, from television to Broadway. This teacher's guide provides summaries of the plays "The Merchant of Venice" and "Othello," essays, and corresponding student activities. The summaries can be used to introduce students to the plays before they watch the films, as well as for reference after viewing. The essays will help students gain background information and put the plays into context. The first essay, "Adapting Shakespeare," explores the timelessness of Shakespeare's themes, as well as the pros and cons of adapting his works, and the accompanying activities help students compare and contrast the adaptations. The second essay, "On Race and Religion," examines the portrayal of these controversies in the "Merchant of Venice" and "Othello," and the activities invite students to examine these issues further. The final section, "The Filmmaker's Vision," asks students to investigate the cinematic techniques and choices used in making the films. The guide suggests that these two plays offer excellent possibilities for team teaching in literature, history, social studies, and media studies. (NKA) books. (NKA)

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Points of view or opinions stated in this document do not necessarily represent official OERI position or policy. Exxon Mobil Corporation KennethP.Cohen 5959 Las Colinas Boulevard Vice President Irving, Texas 75039-2298 ,Public Affairs

Ekonfillobil

DearEducator,

It is our pleasure to once again provide you with a teacher's guide to accompany EXXONMOBIL MASTERPIECE THEATRE. Two of William Shakespeare's notable works, The Merchant of Venice and Othello, are presented in this guide. The Merchant of Venice, which premieres on October 8, 2001, on PBS, uses traditional Shakespearean language but is set in pre-World War II Europe. Othello, which premieres in Winter 2002 on PBS, is based on the original play but is set in contemporary .

We are especially pleased that our teachers' guides and accompanying Web site (www.pbs.org/masterpiece) continue to gain popularity with teachers nationwide. I encourage you to use both media to engage your students.

Your feedback on our EXXONMOBIL MASTERPIECE THEATRE educational outreach efforts is very important to us, and I appreciate the correspondence we have received. If you have any suggestions on how we can improve our teachers' guides, or would like to share how these materials were beneficial in your classroom, please write to me at EXXONMOBIL MASTERPIECE THEATRE, 5959 Las Colinas Boulevard, Irving, Texas 75039. Your efforts to bring classic literature to life for your students are commendable.

Kenneth P. Cohena Vice President, Public Affairs /1P1Ptg .`l<

2Teaching The Merchant of Venice and Othello 4The Merchant of Venice: Plot Summary 5Othello: Plot Summary Masterpiece Theatre Online 6Essay: Adapting Shakespeare www.pbs.org/masterpiece 8Activities and Investigations For background information on programs seen on MASTERPIECE THEATRE, biographies, essays and 10Essay: On Race and Religion interviews, links, bibliographies, and more, Mg MASTERPIECE THEATRE Online at 12Activities and Investigations www pbs org/masterpiece 14 The Filmmaker's Vision 0 B 15Resources MI

16 MASTERPIECE THEATRE ...... ,* . . ... (0.4:0 .... ,...... g'EssozAtabli-$, Program Listings Masterpece,D 1...... 39, ...... The Merchant of Venice ..-...... 1.....* - Premieres October 8, 2001, on PBS ...... n...... 1 tryr,.. Ur* I 1:2= O.. In ..t...... 1 Othello Premieres Winter 2002 on PBS

Off-Air Taping Rights Educators may tape The Merchant of Venice or Othello and use it in the classroom for one year after broadcast

4 studying the plays themselves, students can learn to think and talk about the profound issues raised by Shakespeare. Both plays discussed in this guide deal with controversial subjects. The Merchant of Venice explores anti-Semitism, familial strife, and possible homosexuality Othello involves sexual jealousy, racial tensions, spousal abuse, betrayal, and murder enough dramatic tension to keep anybody in his or 00 OFTEN, STUDENTS ARE LECTURED her seat. These charged themes present considerable ON"the greatest playwright of all opportunities for studying historical context, as well a: time" without really being taught the relevance of the plays (and the themes) to the 21st what Shakespeare has to offer. And century. As students learn to interpret for themselves they're expected to understand language they can't what Shakespeare presents and the techniques he use: initially relate to. Yet Shakespeare's gripping they will also be learning how such drama reflects narratives and dazzling linguistics provide topics for historyand their own lives as well. exploration not only within the context of Shakespeare's 17th century, but for all worlds and Teaching Strategies eras, including our own. The Merchant of Venice and Othello offer excellent Shakespeare has influenced most, if not all, Westernand possibly worldwideplaywrights. His possibilities for team-teaching in literature, history, social studies, and media studies. English classes can techniques, themes, characters, and plots are explore Shakespeare's elegant literary techniques contained in much of what is produced today, from Students will gain the background necessary for television to Broadway. Critic , in comparing and contrasting Shakespeare's language Shakespeare. The Invention of the Human, notes, and structure with myriad adaptations and other "Shakespeare teaches us how and what to perceive, literary works. By learning about the historical context and he also instructs us what to sense, and then of Shakespeare's plays and applying his themes and experience as sensation." In particular, The 0.0 Merchant of Venice and Othello each offer many valuable teaching opportunities. The timelessness of Shakespeare's themesrace, religion, gender, family, marriage, love, and betrayalmakes these plays as meaningful today as in the era when they were written. Besides

5 Ma WILLIAM scenarios to other SHAKESPEARES eras, students in COMEDILS, HISTOftII S, history and social TILAGEDIES robI.theaccorAng to the 1 ru: Orq,m211Coo., studies classes will broaden and deepen their understanding of historical issues and events. Media studies The Masterpiece Theatre films students can examine The Merchant of Venzce, which premieres on how Shakespeare has PBS on October 8, 2001, at 9:00PM,is 142 influenced many kinds minutes. Othello, which premieres on PBS in of artistic expression, Winter 2002, is 104 minutes. Check the as well as what the teacher's guide section of MASTERPIECE implications are when THEATRE Online for suggested viewing LO XDO.IAC_ his works are adapted segments. Pnntedby Mac IaggIntand Vol BI emu.411 for various media. Please Note: Both the original plays and litle page of the the MASTERPIECE THEATRE adaptations of The Merchant of Venice and Othello feature controversial elements. Although The How to Use This Guide Merchant of Venice uses traditional This guide provides summaries of each play, essays, Shakespearean language, it contains possible and corresponding student activities The summaries homosexual themes as well as the character of can be used to introduce students to the plays before , which many audiences, past and they watch the films, as well as for reference after present, have objected to as anti-Semitic. viewing. The essays will help students gain background Othello is a modern adaptation of the original information and put the plays into context. You may play set in a contemporary London police want to photocopy and distribute the essays to students department It contains strong language, for classroom discussion. (You can also download the explosive racial tensions, violence, and frank essays, additional student activities, as well as this sexual situations. You should preview both teacher's guide from MASTERPIECE THEATRE Online at films before using them in class. You may also www.pbs.org/masterpiece.) want to send a letter home to parents The first essay, "Adapting Shakespeare," explores explaining the unit before you begin. the timelessness of Shakespeare's themes, as well as the pros and cons of adapting his work. The accompanying activities help students compare and contrast the MASTERPIECE THEATRE adaptations. The second essay, METHERCHANT "On Race and Religion," examines the portrayal of OFVENICE Othello these controversies in The Merchant of Venice and Othello The activities invite students to examine these issues further. "The Filmmaker's Vision" asks students to investigate the cinematic techniques and choices used in making the films.

./ Portia and her

maid Nerissa

AS THE PLAY The MASTERPIECE THEATRE production of The Merchant of OPENS, WE MEET Venice, adapted and directed by ANTONIO, a with Chns Hunt, Venetian merchant. offers to repay the loan three times over but is refused. was originally staged as an Antonio agrees to award-winning play for Portia and her maid Nenssa devise a plan to help save give his best friend 's Royal National Antonio and travel to Venice disguised as men. Theatre in 1999 The film was Bassarno the money Shylock's case against Antonio is brought to trial, produced by Richard Price and he needs to travel to Chris Hunt Although retaining presided over by the Duke of Venice. The Duke and Belmont, where Shakespeare's language, the play Bassamo urge Shylock to accept repayment of the loan Bassarno hopes to has been moved to a setting that and release Antonio from the grim penalty. Shylock evokes pre-World War II woo and marry the refuses, demanding justice. A young legal expert, Europe You may want to clever and beautiful photocopy and distribute the Balthazar (Portia in disguise), arrives with his "clerk" Portia. Antonio has plot summary of the play before (Nenssa) to help settle the matter She confirms that no cash so he goes students view the MASTERPIECE Shylock is entitled to "a pound of flesh," but pleads THEATRE production to Shy lock, a Jewish with Shylock to place "mercy" above "justice" and moneylender. spare Antonio. When he still refuses, Portia reminds Antonio accepts a bargain from Shylock in exchange Shylock that, according to the law, if he sheds any of for the money: Shylock will charge no interest, but if he Antonio's blood while taking his flesh he will be is not paid back on time, Antomo will forfeit, literally, arrested. Shylock relents and agrees to accept "a pound of flesh." repayment of the loan, but Portia now argues that he In Belmont, Portia meets a senes of suitors. Her should not only be denied his money but that he face a father's will stipulates that she must marry any man who penalty of death for plotting to take the life of a chooses correctly from among three "caskets" (gold, Christian. Sparing Shylock's life, the court takes half silver, and lead cases), finding the one containing her his wealth and requires him to convert to Christianity. portrait. The Prince of Morocco and the Pnnce of Portia, still disguised, demands that Bassarno Aragon both fail Bassamo wisely chooses the lead thank her by giving her his ring, a gift from Portia that casket But just as the couple are united, news amves he had promised never to remove. Bassamo hands over that Antonio's ships have been lost at sea; he will not be the ring; his friend Gratiano gives up Nenssa's ring. able to repay Shylock on time. Meanwhile, Shylock, Back in Belmont, Portia and Nenssa accuse their men devastated and angry that of having given their rings to his daughter Jessica has other women. Portia finally run off to marry Lorenzo, reveals the truth. She and a Chnstian friend of Bassarno are reunited just as Antonio and Bassamo, news arrives that Antonio's demands his due: a pound ships have been saved. of Antonio's flesh Portia

7 jealousy, Othello promotes and asks Iago to help him kill Cassio and . Iago plants Desdemona's handkerchief in Cassio's room. Cassio gives it to his mistress, Bianca. Othello believes Bianca's possession of the IN THE OPENING MASTERPIECE THEATRE's handkerchief is that Desdemona and Cassio Othello is an adaptation of SCENE, Iago are lovers. He verbally abuses his wife in front of Shakespeare's famous tragedy complains that others, who are shocked at the change in the noble The screenwriter, Andrew Othello, his Davies, set aside traditional and powerful man. Commander, has Shakespealean language and Iago has manipulated into trying to passed him over to placed the story in modein- kill Cassio. The attempt goes wrong, and Cassio day London (For more promote handsome wounds Roderigo; Iago stabs Cassio in the leg. background on the Davies Cassio to be his adaptation, visit MASTERPIECE Othello hears Cassio cry out and thinks Iago has Lieutenant. He THEATRE Online ) The killed him. He returns vows to get . elements he retained will be home, ready to kill quickly recognizable the major Iago first asks his Desdemona. Meanwhile, characters, the outline of the friend Roderigo to plot, specific lines and Iago "finds" the wounded tell Desdemona's speeches that recall the original Cassio and accuses Bianca version. You may want to father of causing Cassio's injury photocopy and distribute this that his daughter plot summary of the play Iago quietly kills Roderigo has left to marry before viewing the film, so and sends Emiha (Iago's students can compare and Othello, a marriage wife) to Desdemona with contrast the two versions. Brabantio opposes news of what has happened. because Othello is a Othello reaches the Moor (an African). Brabantio confronts Othello, and sleeping Desdemona first. they take their argument to the Duke, who has Othello kisses her, wakes summoned Othello to ask him to sail to Cyprus to stop her, and accuses her again. a Turkish invasion. Convinced by Othello and Over her protests that she loves him and is Desdemona that they love each other deeply despite innocent, he smothers her. enters and their differences, the Duke gives Desdemona Desdemona revives for a moment, declaring herself permission to travel with Othello. By the time they guildess but saying, as she dies, that Othello is reach Cyprus the foreign threat is gone. innocent of her death. Iago and others enter, and Iago has Roderigo get Cassio drunk and draw him Emilia defends Desdemona's innocence, into a street fight. Iago has his revenge on Cassio when recognizing that Iago is behind the tragedy. Othello Othello strips Cassio of his rank for misbehavior. Then sees the truth and tries to kill Iago. Iago kills Emiha Iago decides to make Othello believe his wife is and flees; Othello condemns himself and commits unfaithful. He encourages Cassio to ask Desdemona to suicide. Iago is seized and taken away. plead with Othello to be Main Characters reinstated. Iago suggests to Othello, 1604 Othello, 2001 John Othello, Metropolitan Police Commissioner Othello that Othello, a Moorish general in the Venetian army Desdemona, a Venetian lady Dessie Brabant, a Journalist Desdemona is lago, Othello's "ancient" or assistant Ben Jago, Deputy Police Commissioner Cassio's lover. Cassio, promoted to Othello's second-in-command Michael Cass, Superintendent assigned to guard Dessie Trusting Iago Brabantio, a Venetian senator, father to Desdemona James Brabant, anstocratic father of Dessie and mad with Emilia, lago's wife and Desdemona's attendant Lulu, Dessie's best fnend Roderigo, Venetian gentleman, former suitor to Desdemona Alan Roderick, a white officer implicated in the beating death of an unarmed black suspect Duke of Venice Prime Minister of Great Britain

8 help him win Portia's hand. And Shylock, the Jewish moneylenderand "other"living amidst rampant anti-Semitism, is vilified and ultimately punished by "Triumph, my Britain, thou hast one to show Christians. Shakespeare presents Shylock harshly, but To Whom all scenes of Europe homage owe. also allows him to speak eloquently on his own behalf, He was not of an age, but for all time!" perhaps the first time a European playwright afforded a Jewish character such a podium. Audiences and HUS WROTE PLAYWRIGHT AND POET critics have puzzled over Shylock for centuries: Is Ben Jonson in 1623 of his greatest rival, Shakespeare's portrayal anti-Semitic or sympathetic? William Shakespearewords that still From Stage to Television hold true for most critics today. The Shakespeare has been presented in myriad versions, timelessness of Shakespeare's themes continue to keep his plays fresh. He dramatized basic issues: love, from the traditional to the almost unrecognizable. England's Royal Shakespeare Company has presented marriage, familial relationships, gender roles, race, age, both true-to-book Elizabethan-era productions as class, humor, illness, deception, betrayal, evil, revenge, murder, and death. He created unforgettable characters, well as modern versions, including a 1986 featuring sports cars, swimming pools, from lowly thieves to lofty kings, who have become and hypodermic needles. Ben Donenberg's Starship archetypes of modern drama, but remain people we can relate to. "The most admirable people can be flawed," Shakespeare, produced in Los Angeles in 1985, offered Shakespearean characters fighting for control director Trevor Nunn notes in an interview (available of a starship. Staged musical adaptations include on MASTERPIECE THEATRE Online), "while the most Leonard Bernstein's West Side Story (also made into despicable people can be redeemed by elements that allow us to understand them." a movie), with rival street gangs as the warring families of Romeo and Juliet, as well as Prokofiev's 1940 Othello and The Merchant of Venice are ideal ballet. There have also been many operas made from examples of Shakespeare's classic tales that students Shakespeare plays. can still relate to. Othello, Desdemona, and Iago play Shakespeare wrote for the masses, much like out a drama of race, love, passion, deception, and betrayal as relevant today as in the 17th century. television writers. In the early days of TV, Shakespeare plays were seen on many drama series. Perhaps due Othello's ill treatment by a racist society and his to his reputation as "intellectual" or "high culture," internalized self-doubt continue to resonate in today's today Shakespeare plays are seen only occasionally on turbulent culture, both in fiction and in life ( evident TV and are now mostly represented by cultural in MASTERPIECE THEATRE's modern adaptation). references in sitcoms, cartoons, and science fiction Othello's story transcends the color of his skin: it's the such as Star Trek. concept of the other that Shakespeare writes about, the mistrust of differences that is present in all societies. At the Movies Desdemona's wifely loyalty, and the physical abuse she Douglas Brode notes in his book, Shakespeare in the withstands at the hand of her jealous husband, are Movies, "[Shakespeare's plays] aren't plays at all; issues that make up today's news. And Iago's envy and rather, they are screenplays, written, ironically, three treachery still echo in competitive scenarios, from high centuries before the birth of cinema." Shakespeare was school elections to government coups. first adapted to the movie screen in 1899, when King The Merchant of Venice also presents scenarios that John was filmed as a four-minute movie. The first are instantly recognizable today. Portia and Jessica on screen was played in 1900 by Sarah must transcend limitations placed by their fathers on Bernhardt (in a gender twist that perhaps Shakespeare their choice of husbands by using their wits. Antonio himself would have enjoyed). A highly regarded 1920 shows his love for by borrowing money to Hamlet, by German director Svend Gade, presented and Juliet, set in modern-day Miami, featured rising the title character as a girl raised as a boy, one of the teen stars Leonardo diCaprio and Claire Danes. first complete reinterpretations of Shakespeare. Shakespeare has also inspired several recent With the advent of sound came a 1929 production films. explored Richard HI in his 1996 of . Stars Mary Pickford and documentary Lookingfor Richard. In 1998 Douglas Fairbanks act up a storm, at one point Shakespeare in Love, starring Gwyneth Paltrow, won attacking each other with whips. 's seven Academy Awards, including best picture. The Richard III and ' Othello, both produced next year, Julia Stiles and Heath Ledger starred in in the 1950s, are considered some of the best and most 10 Things I Hate about You, a modern teen version of innovative film adaptations ever made. The Taming of the Shrew. Continuing that trend was 's 1968 A Midsummer Night's Dream Get Over It in 2001, based on A Midsummer Night's included mini-skirts and Beatle wigs. (, as Dream, and the upcoming 0 , a teen version of Othello. , wears no costume at all except for body Traditional or Not? paint.) Tony Richardson's 1969 Hamlet emphasized Directors and actors have adapted Shakespeare as the generation gap. Franco Zeffirelli's 1968 Romeo and long as his plays have been performed. Some feel that Juliet featured unknown young actors; his earlier The without Shakespeare's original poetry, audiences are Taming of the Shrew starred the famously volatile robbed of the opportunity to experience the couple and . In the cleverness, poetry, and majesty of the language 1970s Roman Polanski's penchant for menace and Shakespeare's genius. Others feel that modern violence was evident in a rough . adaptations don't challenge viewers and offer weaker kindled a resurgence of popular plots and less complex characters. interest in Shakespeare in the late 1980s with , Yet adaptations often offer a commentary on the which portrayed the battlefield as squalid, gory, and times in which they were produced. Changes in decidedly unglamorous. The 1980s also saw Ran, an language, setting, and costume help place the Asian version of , , by highly-regarded production in a particular time or style. The variety of Japanese director Akira Kurosawa. adaptations certainly increases our ability to In the 1990s Zeffirelli made Mel Gibson's title understand and appreciate Shakespeare. For character in Hamlet the Oedipal hero of a thriller. example, the contemporary language and setting of Branagh, after a lighthearted MASTERPIECE THEATRE'S Othello is a compelling and in 1993, set his version of Hamlet in the late 1800s and relevant statement on racial focused on revenge. Remaining tensions today; the pre-World faithful to the original script in War II setting of MASTERPIECE its entirety, Branagh's 242- THEATRE'S The Merchant of minute film is the longest Venice puts the play into a English-language film ever. At fascinating historical focus. 'the end of the decade, Ethan Adaptations continue to allow Hawke created yet another new audiences to be drawn in Hamlet, set in modern-day by Shakespeare's characters New York. Shakespeare's and themes. "The trick is," renewed popularity drew top director Trevor Nunn says in box office stars such as an interview about The Michelle Pfeiffer to a 1999 A Merchant of Venice, "to make a Midsummer Night's Dream. completely new piece of work Baz Luhrmann's raucous while preserving the original William Shakespeare's Romeo piece of work." 4-4

Kenneth Branagh as Henry Vr www.pbs/masterpiece.org 7 1 4n v ADAPTING SHAKESPEARE Inves may change their positions along the line at any time if the arguments offered by others persuade them to move further in one direction or EFORE SELECTING ONE OR MORE of the another. following activities, you may want to photocopy and distribute (or 2. Time and Place download from MASTERPIECE Trevor Nunn, director of the MASTERPIECE THEATRE THEATRE Online) the "Adapting Shakespeare" essay production, has said that he wanted to "present the for students to read and discuss. For additional play with a precise sense of foreboding." Describe the activities and extensions, visit the teacher's guide set and the costumes chosen for this production. What section of MASTERPIECE THEATRE Online. kind of a society do they suggest? What mood or tone do they create? Why do you think the director decided The Merchant of Venice to change the setting? What year do you think it is? Where is it? (For more information on the adaptation, 1. Comedy or Tragedy? including an interview with the director, visit What is a comedy? What is a tragedy? Ask students to MASTERPIECE THEATRE Online.) define these terms and think of films or works of Working with others, propose another setting literature that they would place in each genre. Next ask (time, place, set design, and 'costumes) for The students to do some literary research to define Merchant of Venice. Can a different setting change the "" and "Shakespearean message of the work? Play around with the setting, comedy." Post all four definitions in the classroom. moving it across time or culture, from the city to the Now consider a question that has followed the country. Share your ideas as a class. Then discuss: how play over the centuries: is The Merchant of Venice a can directors use setting and costumes to emphasize comedy? Or is it a tragedy? Can it be both? themes and guide the viewers' responses to the Select a role: a character from The Merchant of characters and action of the play? Venice, the film's director, or Shakespeare himself 3. Up-to-Date (a-ssign or select roles so that all parts are covered The Merchant of Venice continues to be played today duplicates are fine). Looking at the question from because of its powerful themes and drama. But its plot inside your role, write an answer to the comedy or is antiquated, even offensive to modern viewers. Can tragedy question. Cite specific lines or scenes to this play be modernized, as Andrew Davies did with support your position. Othello or as screenwriter Karen McCullah Lutz did Now take a standliterally! Tape, draw, or imagine with 10 Things I Hate about You? Make an argument a line stretching across the front of the room. The left for the value of presenting this play to a 21st century end point of the line is "comedy," the right end point is audience. What themes, ideas, conflicts, emotions in "tragedy." In turn, each student walks up to the line, the play are relevant today? states his or her role and Why are they still important? takes a position somewhere As a group or class along the line while stating a project, create a plot outline position on the question. for a new contemporary Successive students stake adaptation of The Merchant out a spot to the left (more of Venice. Who would Portia "tragic") or to the right -1 be in 2001? Bassanio? His (more "comic") of students friends Solanio and already in place. Students ''...411111111

Poitia and Bassanio Solarino? How would a The modern set of Othello, modern Antonio make his directed by . money? Who might Shy lock and Jessica be, and how would the other characters respond to you have noted between the them? After you have play (see Activity #1, above) outlined the new and the new adaptation of it: adaptation, write ad copy urging viewers to watch the new version. Try writing, What did Davies have to change when he set his in 2001? performing, and filming a short scene. How do Davies' changes serve to develop the Othello characters in a new way? How do his changes restate or reexamine the 1. Details, Details, Details themes of Shakespeare's play? Andrew Davies played freely with the characters and What contemporary questions and issues does plot of Shakespeare's Othello when he wrote his new Davies' screenplay explore? screenplay. After viewing Othello, review this list of plot What do you think Shakespeare would think of details from the original play. How has Davies adapted this new version of Othello? each element? Why do you think he made the changes Write a short note that Shakespeare might send to he did? Davies after seeing his film. Othello promotes Cassio over Iago. 3. Solving the "Problem" of Othello Othello is sent to Cyprus to fight Turkish invaders. Over the years Othello has left critics and viewers of The Turkish fleet founders: Othello has no battle the play wondering and debating: Does Shakespeare to fight. provide Iago with enough human motivation for the Othello has lived his life in tentshe is not a part malevolent acts he commits? Is it plausible that the of the Venetian social world. intelligent, noble Othello could fall so quickly into Iago gets Cassio drunk. Iago's trap, turning from blissful newlywed to Desdemona pleads with Othello on Cassio's murderer in three days? behalf. Challenge students to find their own answers to Iago creates false proof of Desdemona's these critical questions. (If students have not read the unfaithfulness. play, refer them to the summary on page 5 or to a Iago kills Roderigo. scene-by-scene summary from another source.) Is the lago's plot is unmasked; he is taken away play deeply flawed, or is it disturbing and challenging to be punished. because of its "problems"? Do the play's problems 2. Othello Today provoke you to think deeply about human nature, or Shakespeare would probably not be surprised that would they be better "fixed" by a rewrite? Othello has been adapted; he did the same thing It can be argued that Andrew Davies takes the himself when he wrote his play, which was based on a role of problem-solver as a screenwriter. Direct 1565 Italian novella by Giraldi Cinthio. Shakespeare students back to his film. How has Davies changed the developed characters, themes, and language in his own plot to address the "problems" of Othello? Does the style for his own purpose (significantly, turning Othello screenplay provide satisfactory answers to the two from a villain into a tragic hero.) Review the differences questions above? Why or why not?

www.pbs/masterpiece.org 9 Othello himself? Or is he simply a psychopath? Shakespeare doesn't say. Even when Othello asks Iago

LTHOUGH THE PLOTS OF his motives, Iago answers cryptically, "Demand me SHAKESPEARE'S PLAYS ARE SPECIFIC, nothing; what you know, you know; from this time the motivations of the charactersas forth I never will speak word." well as of Shakespeare himselfhave In the 17th century, racism was an accepted part been the source of much debate. Arguments continue of public life; people of color were often thought of as over interpretations of Shakespeare's intentions in part "savage." Shakespeare would have encountered no because his plays remain so profoundly relevant. societal pressures against presenting such ideas. Yet he doesn't actually portray Othello as inferior. Although On Race Iago and Roderigo make him sound despicable in their Race is a particularly critical factor in Othello, the story disparaging first-act conversation, Shakespeare then of the "dark Moor" who succumbs to sexual jealousy shows Othello as a well-spoken and highly regarded amidst a white society. Why does Iago mislead Othello military leader who has won the hand of an aristocratic so cruelly? And why does Othello believe Iago's lies, woman. Iago's treachery is what ultimately tears Othello and ultimately commit the heinous act of killing his apart. Does Shakespeare mean to portray Othello as beloved wife? What does Shakespeare mean to say in inferior? Or does he show Othello's internalization of this scenario? the harsh prejudice against him, ultimately believing Shakespeare doesn't make Iago's intentions clear, himself incapable of winning Desdemona's love? nor does he shed light on Othello's personal fears and Perhaps Shakespeare was only trying to sell insecurities. Instead he supplies situation, action, and tickets. Shakespeare was brilliant at creating absorbing often vague dialogue. The play opens with soldiers scenarios that drew in crowds and kept their attention. Iago and Roderigo speaking ill of their leader, Othello Racial tension in Othello (with a good dose of sexual (unnamed here), who has just eloped with Roderigo's jealousy) is no small part of the drama that rivets the love interest, Desdemona. They refer to him as viewerin modern as well as Elizabethan times. Norrie "thicklips" and "the devil." Iago later describes Othello Epstein recounts in her book The Friendly as an "an old black ram ... tupping your white ewe." In Shakespeare: "During one production in the Old West, Davies' adaptation, there is no doubt that the society a member of the audience took out his pistol and shot surrounding John Othello is racist. Early on, police the actor who was playing Iago. On his tombstone were commissioner Carver makes crude comments about the words 'Here lies the greatest actor." his black officers and, confiding in Jago about Movie director and actor Orson Welles felt that promoting black officers, says,"Wouldn't it be nice just Iago must be impotent to be so angrily motivated, to relax and tell the truth for once? They're [blacks] and directed the character as such. Director Tyrone just not up to snuff, not yet." Guthrie and actor Laurence Olivier went to In the play, Iago notes bitterly that Othello has psychoanalyst Ernest Jones' office to discuss passed him up for a promotion. And in a later aside, he motivations in Othello, and heard the Freudian version: declares, "I hate the Moor, and it is thought abroad that Iago was subconsciously in love with Othello rather 'twixt my sheets he's done my office. I know not if't be than jealous of him, and thus had to destroy his true but I, for mere suspicion in that kind, will do as if marriage. Olivier took this interpretation to heart, and for surety." In the modern version, he says, "You know as Iago, delivered a kiss full on the mouth to Ralph I'm eaten up with sodding envy. You do know that, Richardson's Othello with the line, "I am your own don't you?" Is Iago a racist? A disgruntled employee? forever." Avant-garde director and writer Charles A cuckold? Does he lust after Desdemona, or even Marowitz believed the play to be a significant statement

3 10 about race. He saw the character Othello as "a toady Critics have come to contradictory conclusions and as someone who made a contemptible adjustment about Shakespeare's intentions regarding Shylock. to his white masters." At the end of Marowitz's 1972 While many see the play as anti-Semitic, some believe play, as Othello is to commit suicide, Iago asks him, the play to be pro-Jewish, citing Shylock's now- "Are you going to be a tool of white audiences just to famous speech as proof. More confusion is added by give them a catharsis?" the next section of the speech, where Shylock consigns himself to revenge: "...If a Jew wrongs a On R eligion Christian, what should his sufferance be by Christian Religion has also been a source of controversy in example? Why, revenge! The villainy you teach me I Shakespeare's plays, specifically in The Merchant of will execute, and it shall go hard but I will better the Venice. Shylock, the Jewish moneylender, is vilified by a instruction." While some see this as attributing an- flagrantly anti-Semitic society. He is presented in the eye-for-an-eye harshness to the "despicable" Jew, most stereotypical of anti-Semitic terms: he has others view it as Shakespeare taking Christianity to hair (a 17th-century reference to the devil) and a big task for hypocrisy. Trevor Nunn, director of the nose, dresses in filthy clothes, and is a seemingly MASTERPIECE THEATRE production, comments, "My greedy loan shark with little compassion for others. intention is to show that the play is as much anti- When his daughter runs off with a Christian suitor, Christian as it is anti-Semitic. It is a masterpice about taking a considerable sum of her father's money with human behavior in extremis." her, the devastated Shylock can't decide which loss is Shakespeare does make clear Shylock's greaterhis ducats or his daughter. provocation for revengeAntonio and his friends But Shakespeare also lets a Jewish character make have goaded him publiclybut any political or social an impassioned plea for empathy. When maligned by statement made by this motivation remains Antonio and his Christian unresolved. Some argue cohorts, Shylock says in that Shakespeare made his now-famous speech, Shylock both detestable "Hath not a Jew eyes? and sympathetic mainly Hath not a Jew hands, so he could increase the organs, dimensions...If play's dramatic tension. you prick us do we not The critic Harold bleed...?" Bassanio, the Bloom in his book Christian courtier, is as Shakespeare: The fond of money as Shylock Invention of the Human is. In Shakespeare's time, notes, "We can keep audiences expected a finding the meanings of Jewish character to be Shakespeare, but never fiendishly cruel. Since the meaning." As each Elizabethans believed that generation re-interprets conversion amounted to Shakespeare, it's likely saving one's soul, that these issues will Shakespeare gives continue to challenge, Shylock, in Elizabethan infuriate, and intrigue terms, a . audiences.

Arthur Bouchier as Shylock at the Garrick Theatre, 1905

www.pbs/masterpiece.org 11 1==kim-m-=-_m_11

A 1 stereotype? Why or why not? Do other characters see him as one? How do you think a modern viewer's response to EFORE SELECTING ONE OR MORE stereotypes differs from viewers in Shakespeare's of the following activities, you may time? want to photocopy and distribute the Do you conclude that Shakespeare was anti- "On Race and Religion" essay (or Semitic and/or racist? Why or why not? download it from MASTERPIECE THEATRE Online). For additional activities and extensions, visit the teacher's 2. The Outsider guide section of MASTERPIECE THEATRE Online. Draw a set of concentric circles on a piece of paper. The circles represent the society in which Othello or 1. Playing Against Type The Merchant of Venice is set. Place the main characters What is a stereotype? How do stereotypes originate? from the play in position within the concentric circles In Shakespeare's world, the stereotype ofJews was to show the relationship of each to the mainstream viciously negative; similarly, Othello, an African, would society in the center. have been viewed as inferior. But do Shakespeare's Compare your diagram with others in your class. plays encourage or challenge the widespread anti- Do you see any differences? Discuss your Semitism and racism of the time? reasoning and try to reach a consensus on where Before answering, consider other examples. each character should be plotted. Who is an Identify characters in television, film, and literature tfiat "insider"? Who is an "outsider"? What are the are built on a stereotype (of age, class, region, ethnicity, relationships between the characters in the center race, etc.). List them on the board. and at the edges? Try making a similar chart Which characters are stereotypes that reinforce placing characters based on how sympathetic they negative images? Label them. are and compare. What do you see? Which characters stretch or break out of their Where did you position Othello and Shylock? stereotypes? How do they do it? What message Why do you think Shakespeare placed these or lesson about stereotypes do the characters characters from the outer circle of society at the deliver? center of action in his plays? What is the role of the What role do stereotypes play in art? Should they "outsider" in Othello and The Merchant of Venice? remain in classic works or be a part of newly- Now think beyond Shakespeare: what can an created art? "outsider" character see that other characters Read the essay "On Race and Religion." Then think about Shakespeare's ( Othello and Shylock. Does each character reinforce or challenge the stereotype an Elizabethan viewer would have brought into the theater? If so, how? Is the Othello in Andrew Davies' adaptation a

Jago and Othello

12 cannot? Look back on your own experience and heroes, comic endings, items about jealousy, power, recall a time when you were the "outsider." Draw a marriage, financial problems, racial and religious concentric circle diagram, plotting where you and tension. Print or clip the news pieces. Then return to others stood during the time you recall. Write a the plays or the screenplay and locate a quote to short personal essay telling about that time. accompany each article. Mount the article and the quote together for display. 3. Changing Places How much do race and religion explain characters' 6. Old Tales for a New Generation behavior and the action on the screen? Play a "what Why read books written before you were born? Why if?" game to find out. Write the name of each major do we still read and watch character on an index card and place them in a stack. Shakespeare? One simple Create two more cards: for Othello, one labeled answer is that there are "black," one labeled "white"; for The Merchant of conflicts, desires, and Venice, "Christian" and "Jewish." Create teams of three dilemmas addressed in or four students. In turn, each team draws one card works of the past that are as from the character pile and one of the two category much a part of our lives as cards. For example, this might yield "Portia" and they were a hundred or a "Jewish" or "Desdemona/Dessie" and "black"what thousand years ago. We if Portia had been Jewish? What if Dessie were black? continue to read the old The team confers and oflers a new summary of the stories; we also create new stories that retell the old play, an act, or a scene under the "what if" scenario. ones again and again. Return and reshuffle the cards after each group draws. Test out this thesis: brainstorm a list of ten works you know well that were created by an earlier 4. Character Interviews generationmyths, folktales, legends, epics, , In groups of three, identify a pair of characters from song lyrics. You might start your list with tales you Othello and/or The Merchant of Venice who have recall from childhood, favorite books, works you read something in common: two women; two "outsiders"; in school last year, or "oldies" music. For each work, two characters in love; two characters who feel despair, identify the central idea, issue, or conflict of the work. jealousy, or another emotion; two winners; two losers, Of the ten works on your list, which ones are etc. One student will play each character part and the about ideas or themes that are relevant to your life third will be the interviewer. Together compose a series and your generation? Circle them. Are there any of questions for the interviewer to pose, designed to works within the list that tell similar stories or explore explore, compare, and contrast what the two characters similar themes? Draw a line connecting them. Look have in common. Have the character players answer for similarities between your list and those of others. without a script. What ideas or conflicts come up again and again? 5. Shakespeare in the News Add another layer to the storytelling tradition: The essay "On Race and Religion" argues that the take the bare bones of the plot from one of these themes and conflict in The Merchant of Venice and works and imagine a more modern version of this Othello are still important today. Find evidence for this tale. Provide a title and plot summary. How do you argument by reading newspaper articles and news Web need to change the story so that it speaks to your sites for current events that recall any of the themes, generation or comments on your own time? conflicts, or characters from either play. Look for tragic

www.pbs/masterpiece.org 13 scene? How rapid are the cuts between shots? What is the effect of the editing? Sound. Are there sound effects or a sound track? REATING A FILM FROM A PLAY Is not as Watch for a moment with your eyes closed. What simple as turmng on a video camera to do you hear in addition to voices2 record a stage performance. Filmmaking is a distinct art form, requinng a senes of Drawing Conclusions decisions by the filmmakers that produce a viewing experience different from that oflive theater. After developing their answers, have students visit What are the building blocks of film? How do MASTERPIECE THEATRE Online for more background filmmakers use their art to shape our responses to plot, on the making of the films. character, and themes? What do you think The Merchant of Venice director Take apart selected scenes from The Merchant Trevor Nunn hopes to do with film that he could of Venice and Othello to explore these questions. View a not do in live theater? How does his film change two- to three-minute clip from each film (from the the viewer's experience of Shakespeare's play? video or from What is Geoffrey Sax, the director of Othello, MASTERPIECE trying to achieve? How does his purpose differ THEATRE from Trevor Nunn's? Online.) You may Which film is more like the last film you saw in a wish to use the movie theater? Refer to specific techniques and scenes suggested choices in your answer. below. Compare The Camera at Work what you saw and Othello: Point of View heard in each clip Opening banquet scene to how you imagine the same Watch the scene and note the position of the camera in scene would play relation to the actors. How does Jago use the camera? on the stage of a theater. List as many differences as you What is the camera's point of view during the speech? can. Now compare scenes from the two films against How does the camera's point of view control how we each other, looking at specific elements of filmmaking: understand and interpret events? Is Jago controlling II I Set/background. How elaborate or realistic are the what we see in the story and how we see it? e I sets? Are they interiors, exteriors, or both? Filmed on a sound stage or on location? What is the The Merchant of Venice: atmosphere of each scene, and how does the set Capturing Action and Reaction help create it? Trial scene from Portia's entrance Lighting How is the scene lit? What is the source How does the camera follow the dialogue between and intensity of the ligh0 Does it appear natural or Shylock and Portia? Specifically, how do the scene's artificial? How does the lighting help create the mood or spirit of the scene? many close-up shots add to the emotional intensity of the scene? How do the wide shots heighten the effect Camera work. How tight are the shots (close-up, of the action and movement in the scene? wide angle)? What is the position of the camera relative to the actors (above, below, eye-level)? Is Stop the film on a wide angle shot. Would this shot the camera moving or steady? Do you feel close to work better as a close-up? Describe another shot you the action or removed from it? would consider if you were the director. Stop the film Editing How many different shots are in the on a close-up. How would the effect be different if the shot were wider? What choice would you make?

7 A V A lesson plan for The Merchant of Venice, drawn from the teaching resources archives of Shakespeare Magazine (wwwshakespearemag.com), offers a HERE ARE COUNTLESS BOOKS, articles, research-based exploration of how Shylock might have and Web sites about Shakespeare and been interpreted in three different historical periods. his works. For background on The Merchant of Venice and Othello, Mr. William Shakespeare and the Internet previous adaptations of Shakespeare's work, and more shakespeare.palomar.edu/ ideas for discussion and activities in the classroom, An annotated guide to Shakespeare resources on the try these selected Web and print resources. Web including timehnes and biographical information

Surfing with the Bard Web Sites www.ulen.com/Shakespeare

MASTERPIECE THEATRE Online Student and teacher guides to the plays, discussions, www.pbs.org/masterpiece reviews, links to lesson plans, and online courses. Produced by WGBH, MASTERPIECE THEATRE Online provides additional information about the films as Books well as biographical information on Shakespeare; Bloom, Harold. Shakespeare: The Invention of the who's who in the story and in the cast; interviews and Human. Riverhead Books, 1998. A comprehensive essays; this teacher's guide (with additional activities); study of Shakespeare's plays by the prominent literary a viewer's forum; story synopses; a linguistic game; critic. Chapters on The Merchant of Venice and Othello and a "play-to-film" section where you can compare address major critical questions. the original play to the screenplay, with a short film Brode, Douglas. Shakespeare in the Movies: From the clip. The Merchant of Venice Web site will launch in Silent Era to Shakespeare in Love. Oxford University September 2001. Press, 2000. Analysis of various movie adaptations. The Complete Works of William Shakespeare Epstein, Norrie. The Friendly Shakespeare. Viking, tech-two.mit.edu/Shakespeare/works.html 1990. A resource for students and teachers, including MIT's Shakespeare's home page, where you can analysis; interviews with actors, directors, critics; download any of Shakespeare's works in their entirety anecdotes; and facts on the history of the plays. or scene by scene. Gross, John. Shylock: A Legend & Its Legacy. Simon Teaching Shakespeare and Schuster, 1992. A critical analysis of the character www.folger.edu/education/teaching.htm Shylock. Includes a history of Shylock, interpretations, The Folger Library's site for teachers from the and a section called "Citizen of the World" which cites Teaching Shakespeare Institute includes lessons plans, the effect of The Merchant of Venice on actual events. Teacher's Lounge for questions, and an idea exchange. See especially "The Good and the Badde: Are Haliojay, ed. Understanding The Merchant of Venice: Stereotypes a Perfect Fit?" by Maryann Jessop and A Student Casebook. Greenwood Press, 2000. Essays, Jeannie Goodwin, November 1999. analysis, and primary sources.

The Shakespeare Classroom O'Brien, Peggy, ed. Shakespeare Set Free: Teaching www.jedink.net/massij/shakes/index.shtmMtop , Othello. Washington Square Press, Teaching resources and study questions. 1995. Essays, teaching techniques, activities, and day- to-day strategies for teaching Othello, written by faculty Three Scenes, Three Societies, Three and participants in the Folger Shakespeare Library's www.shakespearemag.com/spring97/daking.asp Teaching Shakespeare Institute. EXXONMOBIL MASTERPIECE THEATRE Program Listings Fall 2001 All programs air at 9:00 PM on Monday evenings

The American Collection: The Ponder Heart My Uncle Silas October 15 November 26 Daniel Ponder, the richest man in Clay County, plays rascally Uncle Silas in a charming Mississippi, lives to give his fortune awaymuch to series of sketches set in rural England at the turn the dismay of his of the 20th century Silas is joined by his 10-year-old f 411k4TA:c: :74 family. But when nephew Edward for a variety of adventures, including IS he loses his heart poaching, courting, drinking, fighting, and occasion- 1,e,Nrc to backwoods ally working. Based on the book by H.E. Bates. flower Bonnie David Copperfield -1/ Dee Peacock, December 10 and 17 \12 romantic intrigue, The Peabody Award-winning mini-series based , empty bank , on ' own difficult journey from accounts, and a boy to man bizarre murder features Daniel trial ensue. Radcliffesoon This adaptation to star as Harry of Eudora Welty's Potteras David, eccentric comic tale is directed by Martha Coolidge and stars as Mr. Micawber, Peter MacNicol, JoBeth Williams, Brent Spiner, and Maggie and Angela Bettis Smith as Aunt The Cazalets Betsey. October 22 to November 19 Elizabeth Jane Howard's family epic in the tradition of Upstairs, Downstairs and The Forsyte Saga opens Coming in Winter/Spring 2002 on the eve of World War II, as the Cazalet clan Othello assembles at the family estate in Sussex, England. Lucky Jim The six-hour drama centers on three brothers and a The American Collection: A Death in the Family sister, their spouses, and their children coming of age The Way We Live Now in an ominously changing world. Hugh Bonneville, Love in a Cold Climate Stephen Dillane, and Ursula Howells star. The Road from Coorain I

Cvedits The following EXXONMOBIL MASTERPIECE THEATRE This teacher's guide was produced by the Educational titles are available on video for educational use. To order, Programming and Outreach department of the WGBH call (800) 949-8670. To see program descriptions, visit Educational Foundation the EXXONMOBIL MASTERPIECE THEATRE Shop at Di ectoi , Educational Designes www.pbs.org/masterpiece. For home videos and Print and Outreach Cathleen Damplo Schaad Karen Barss American Collection titles, go to the PBS Web site at Print Production Manager, Educational Print Lenore Lanier pbs.org/shop. Sonja Latimore Mark Hoffman Print Project Director Writers Title Item Length Price Cyrisse Jaffee Carol Cashion All the King's Men* Fischer WG888 2 lirs $19.95 Project Assistant Anna Karenina WG1084 4 hrs $29.95 Corinne Pierce Advisors Bramwell, Series 3* WG372 4 hrs $29.95 Robert McBride Breaking the Code* WG171 90 min $19.95 Kathleen Schulten Brideshead Revisited* WG242 10 hrs $119.95 Broken Glass* WG160 100 min $19.95 The Merchant of Venice is a Performance Company Cider with Rosie WG607 2 hrs $19.95 presentation of the production. David Copperfield* 3 hrs WG890 $29.95 Othello is a co-production of LWT and WGBH/Boston in Far from the Madding Crowd* WG488 4 hrs $29.95 association with the Canadian Broadcasting Corporation. Frenchman's Creek WG606 2 hrs $19.95 Goodnight Mister Tom WG605 90 mM $19.95 Great Expectations* WG603 3 hrs $29.95 King Lear* min WG535 2.5 hrs $29.95 ExxonMobil Lost for Words WG860 90 mM $19.95 Masterpiec The Mill on the Floss* w.G317 2 hrs $19.95 Theatre- Moll Flanders* WG156 4 hrs $29.95 Monsignor Renard WG971 4.5 hrs $29.95 The Moonstone WG318 2 hrs $19.95 EXXONMOBIL MASTERPIECE THEATRE is a Oliver Twist WG1000 6 hrs $39.95 production of WGBH Boston. Painted Lady* WG489 4 hrs $29.95 The Railway Children WG1001 2 hrs $19.95 MASTERPIECE THEATRE is a trademark A Rather English Marriage WG819 2 hrs $19.95 of the WGBH Educational Foundation. Rebecca* WG166 3 hrs $29.95 Reckless* WG457 6 hrs $39.95 Reckless, the Sequel* WG604 2 hrs $19.95 EXXONMOBIL MASTERPIECE THEATRE A Respectable Trade WG538 4 hrs $29.95 and this teacher's guide are fully funded by Seeing Red WG891 2 hrs $19.95 Exxon Mobil Corporation. Shooting the Past* WG822 3 hrs $29.95 A Town Like Alice* WG241 5 hrs $39.95 EaprruNilobEl The Turn of the Screw WG889 90 mM $19.95 The Unknown Soldier* WG553 3 hrs $29.95 Closed captioned for deaf or hard-of-hearing viewers. The Wingless Bird* WG463 3 hrs $29.95 The Woman in White WG462 2 hrs $19.95 Wuthering Heights* WG537 2 hrs $19.95 ©2001 WGBH Educational Foundation *No public performance rights Permission is granted for reproduction of this printed material for educational use only,. All other rights reserved. Other than as discussed Sk above, no part of the Wacher's Guide for The Merchant of Venice and Othello may be reproduced, used in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission of the WGBH Educational Foundation, 125 Western Avenue, Boston, MA 02134.

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