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Creating the Role of Iago: an Analysis of the Pre-Rehearsal Process Jordan Brent Wolfe

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Creating the Role of Iago: an Analysis of the Pre-Rehearsal Process Jordan Brent Wolfe University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects January 2013 Creating The Role Of Iago: An Analysis Of The Pre-Rehearsal Process Jordan Brent Wolfe Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Wolfe, Jordan Brent, "Creating The Role Of Iago: An Analysis Of The rP e-Rehearsal Process" (2013). Theses and Dissertations. 1491. https://commons.und.edu/theses/1491 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. CREATING THE ROLE OF IAGO: AN ANALYSIS OF THE PRE-REHEARSAL PROCESS by Jordan Brent Wolfe Bachelor of Arts, Jamestown College, 2007 A Thesis Submitted to the Graduate Faculty of the University of North Dakota In partial fulfillment of the requirements for the degree of Master of Arts Grand Forks, North Dakota May 2013 This thesis, submitted by Jordan Brent Wolfe in partial fulfillment of the requirements for the Degree of Master of Arts in Theatre from the University of North Dakota, has been read by the Faculty Advisory Committee under whom the work has been done, and is hereby approved. Head of Thesis Committee Committee member Committee member This thesis is being submitted by the appointed advisory committee as having met all of the requirements of the Graduate School at the University of North Dakota and is hereby approved Wayne Swisher Dean of the Graduate School April 11, 2013 ii Title Creating the Role of Iago: An Analysis of The Pre-Rehearsal Process Department Theatre Arts Degree Master of Arts In presenting this thesis in partial fulfillment of the requirements for a graduate degree from the University of North Dakota, I agree that the library of this University shall make it freely available for inspection. I further agree that permission for extensive copying for scholarly purposes may be granted by the professor who supervised my thesis work or, in her absence, by the Chairperson of the department or the dean of the Graduate School. It is understood that any copying or publication or other use of this thesis or part thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of North Dakota in any scholarly use which may be made of any material in my thesis Jordan Wolfe 4/11/2013 iii TABLE OF CONTENTS ACKNOWLEDGMENTS …………………………………………………………....v ABSTRACT ……………………………………………………………...…….……..vi INTRODUCTION…………………………………………………………….…….....1 CHAPTER I. OTHELLO TEXT ANALYSIS………………….……....……………….….2 II. CHARACTER ANALYSIS OF IAGO…………..…………………….…...24 III. CREATING IAGO PRE-REHEARSAL………………….……………….50 WORKS CITED …………………………………………………………….……..…...65 iv ACKNOWLEDGMENTS I wish to express my sincere appreciation to the members of my advisory committee for their guidance and support during my time in the graduate program at the University of North Dakota. I would like to thank my family and friends for always supporting my decision to do theatre. v ABSTRACT The process of creating a character entails much more than memorizing a few lines, learning blocking, and repeating them on stage. An important aspect for an actor passionate about improving their craft as an artist comes during the pre-rehearsal process. Before the audience enters the theatre, or the director has taken control of the actors on stage, it is important, as an actor, to begin to develop the many aspects of the character that he or she will bring to the play. This thesis is a character study of Iago, from Othello. The first chapter will explore a textual analysis of Othello. The second chapter is an exploration of Iago through a detailed character analysis. The third chapter will be an exploration of the pre-production of the character and how I would create Iago. Through this creative process it will be shown that Iago is a manipulative, duplicitous antagonist that drives the action of Othello. vi Introduction The process of creating a character entails much more than memorizing a few lines, learning blocking, and repeating them on stage. An important aspect for an actor passionate about improving their craft as an artist comes during the pre-rehearsal process. Before the audience enters the theatre, or the director has taken control of the actors on stage, it is important, as an actor, to begin to develop the many aspects of the character that he or she will bring to the play. This thesis is a character study of Iago, from Othello. The first chapter will explore a textual analysis of Othello, which includes protagonist, antagonist, and the actions important to the tragedy of Othello. The second chapter is an exploration of Iago through a detailed character analysis, showing how he manipulates characters through many differing means to achieve his super-objective of destroying Othello. The third chapter will be an exploration of the pre-production of the character and how I would create Iago as an actor. Through this creative process it will be shown that Iago is a manipulative, duplicitous, antagonist that drives the action of Othello. 1 Chapter I Othello Text Analysis The Tragedy of Othello, the Moor of Venice is a play by William Shakespeare, believed to have been written in approximately 1603. The work revolves around four central characters: Othello, a Moorish general in the Venetian army; his wife, Desdemona; his lieutenant, Cassio; and his trusted ensign, Iago. By analyzing the text of this great work this chapter will provide insight into how Iago fits into the play. The analysis will show that Othello is the protagonist and Iago is the Antagonist. It will then discuss the major conflict these two characters create between them. Next, the intrusion, rising action and climax will be explored to support the claims aforementioned. Finally, by discussing the major themes of the play this chapter will show that Iago is the driving force behind the show. The stasis of The Tragedy of Othello is exposition given during first act of the play. Othello opens with Roderigo, a rich and dissolute gentleman, complaining to Iago about the secret marriage between Desdemona and Othello. RODERIGO: (Tush), never tell me! I take it much unkindly That though, Iago, who hast my purse As if the strings were thine, shouldst know of this. IAGO: (S’blood,) but you’ll not hear me! 2 If ever I did dream of such a matter, Abhor me. RODERIGO: Thou toldst me thou didst hold him in thy hate. IAGO: Despise me if I do not. (Othello, 7) This exchange shows Roderigo upset over the marriage of Othello and Desdemona, but it also presents the friendship and relationship of the two men. It is clear that Roderigo believes that Iago is a confidant and a true friend. This explains why Roderigo is so upset having not been informed of the marriage. The reason Roderigo is upset is because he has loved Desdemona and pursued her for some time. For Roderigo to learn after the fact that Othello has secretly married her puts his friendship with Iago into question. This exchange also establishes that both men hate Othello. This information is vital to gather as it is the first inclination of trouble between Iago and Othello. As the conversation continues, it is established that Iago believes he has been wrongfully passed over for the lieutenancy of Othello’s army for Cassio, an untested tactician. Iago explains to Roderigo, Three great ones of the city In personal suit to make me his lieutenant, Off-capped to him; and by the faith of man, I know my price, I am worth no worse a place. ……………………………………………………………………… For “Certes”, says he “I have already chose my officer.” And what was he? 3 Forsooth, a great arithmetician, One Michael Cassio, a Florentine… (Othello, 7) Iago believes that he had the noble’s support his rise to lieutenancy. However, Othello had already made a decision based on no actual battle experience. This information represents that Othello is impulsive in his decisions. Ken Jacobsen, in his article “Iago’s Art of War: The “Machiavellian Moment” in Othello”, supports this idea when he discusses how Iago, dismisses Cassio (in the same soliloquies) as a mere “counter-caster” or accountant, an armchair general whose military knowledge comes exclusively from texts, not experience. Similarly, with the air of an oratorical connoisseur, he mocks Othello’s inflated, militaristic rhetoric, just as he later characterizes Cassio as a slippery sophist. (Jacobsen, 2) Iago insults the men who he believes have wronged him. Iago does this to gain the support of Roderigo. Shortly after this Iago confesses to being given the rank of “Ancient”, which is the aide-de-camp or lowest ranking officer. It is obvious that Iago feels slighted for being given such a low rank. As the exposition continues, Iago reveals that he is living a double life. He has convinced Roderigo that he does not love Othello for the wrongs committed upon Iago. “I follow him to serve my own turn upon him. We cannot all be masters, nor all masters cannot be truly followed” (Othello, 9). This confession shows that Iago is pretending to love Othello, but in reality he is only serving under him to enact his revenge. Iago is not only lighting Othello for not promoting him, but also questioning his leadership by 4 insinuating, “that ll masters cannot be followed”. Iago’s plan to enact revenge uon Othello gains support from Roderigo. The love that Roderigo has for Desdemona is what makes it possible for Iago to gain his support.
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