Kubus English 4, Othello, Assignment #1 Options
To assist your study of Othello and to think about some issues in the play we won’t have time to cover together in class, I am giving you a choice of short assignments designed to look at either text or performance. These options range from those more creative in nature to those a little more academically traditional. You’ll also have the choice, depending on the option you choose, to work on your own or in pairs.
Regardless of which option you choose, the assignment is due on the same day and is worth 100 points.
OPTION 1: Performance comparison
Due Dates: Friday, April 6, 2018
Length: 500-750 words
Value: 100-pt essay grade
Submission: Submit to turnitin.com by 3:30 pm, 6 April 2018. Normal late policy applies.
Method: On your own
Your first option is to compare two performances of an early speech in Othello, interpreting cinematic and narrative techniques and constructing an argument about how each interpretation of the character differs from the other. You’ll first choose the speech and then choose the two versions of that speech to write about.
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1.3 (“Thus do I ever make my fool my purse”) 1.3 (“Her father loved me, oft invited me”)
Performance #1: Othello (1990), performed by Ian McKellen, Performance #1: Othello (2007), performed by Eamonn directed by Trevor Nunn (Begin at 5:00) Walker, directed by Wilson Milam (Begin at 3:45)
Performance #2: Othello (1995), performed by Kenneth Performance #2: Othello (2009), performed by James Earl Branagh, directed by Oliver Parker Jones at the White House
Performance #3: Othello (1981), performed by Bob Hoskins, Performance #3: Othello (1951), performed by Orson Welles, directed by Jonathan Miller directed by Orson Welles
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How’s it done?
1) Watch all six clips. Then choose the one that most inspires you. Mine, for instance, is Ian McKellen’s “Thus do I ever make my fool my purse.” Choose one of the other two versions of the same speech, taking notes on the performance choices by both director and performer. What conversations do you imagine them having, and what decisions do they come to about the character at this moment in the play?
2) Rather than offering a catalogue of your observations regarding the films’ similarities and differences, your essay should pose an argument about the significance of the connection. The structure of your argument could be the same as always: “I want to show you these elements of performance in order to argue that Branagh’s Iago is…, unlike McKellen’s Iago who understands…”
3) Although the comparison/contrast essay examines a large-scale question, close “textual” analysis will serve as your main source of Kubus English 4, Othello, Assignment #1 Options evidence. In supporting your argument, you will need to pay attention to how the films interpret the speech through narrative and/or cinematic techniques. Focus on specific shots, movements, intonations, pauses, the cinematic codes at work in these scenes that give insight into emotion and motivation. You’ve done a great job of this in class already; now we want to translate our discussions to our essays. We’ve been closely reading texts; now we’re closely reading film – same methodology, different types of evidence.
4) While you can organize your comparison/contrast essay in several ways, you should avoid discussing one film in full, then turning to the other. This format relegates the comparison/contrast to the second half of the paper. Instead, you can structure the first part of the essay around similarities, moving from one film to the other, and the second part around differences, discussing each film in turn. You can also focus each paragraph on one similarity or difference, discussing examples from both films.
Explore, discover, be delighted. Don’t even think about googling. My office door is always open if you have any questions.
Aggressively search and destroy errors with extreme prejudice. I want to see you take more pride on your work. Proofread, proofread, proofread.
Review your MLA rules. Don’t lose easy points. Also, check this site out for help with citing film.
OPTION 2: What ’s in a word?
Due Dates: Friday, April 6, 2018
Length: 500-750 words
Value: 100-pt essay grade
Submission: Submit to turnitin.com by 3:30 pm, 6 April 2018. Normal late policy applies.
Method: On your own
Another option for the next writing assignment of the term is a short one, delving deep into the denotations and connotations of a single word in what we’ve read so far of Othello. You’re to choose one word in Othello that strikes you, that you’ve noticed recurs again and again. Then, you will write a 500-750-word essay about the significance of the word as it pertains to the larger themes in the play.
How’s it done?
1. Choose a word. You might consider using one of the following, or you might be more adventurous and go in search of one of your own:
’Sblood charm# visage peculiar abused# soul native composition incontinent# obsequious strange virtue poison beguile sanctimony profane simpleness purse evil ear engendered am Moor conjunctive Kubus English 4, Othello, Assignment #1 Options
2. Once you’ve selected your word, make your way to the Oxford English Dictionary. You want to do a search for your word, as well as any other form of your word, to pinpoint the earliest and various meanings of the word. Then, see how many times your word appears in the selections we’ve read so far by going to the Shakespeare Concordance. I’ll show you how to use this in class.
------Points 3 and 4 taken from Shakespeare at Chicago.
3. Thinking About Your Word
Why is the word you selected significant, or rather, how does the play call attention to the significance of the word? Some questions to help you begin to consider this might include: Where is the word placed within a sentence, a speech, a scene or act ("who" for example, is the very first word of Hamlet, a play riddled with questions about identity)? How might it be significant in the context of a particular speech? a particular character? or the trajectory of the plot itself? Does the meaning of the word change or become more complex as the play develops? What is the etymology of the word (you can check this through the OED)? Is the complexity of the meaning of the word in any way tied into the thematic issues at stake in the play? What part(s) of speech is your word (verb? noun? adjective? preposition? dangling participle?) Is this--according to the OED--the first known use of the word in English? Why might that matter? (Just an aside: note how many new words in English are first located in Hamlet. The late sixteenth and early seventeenth century was a time when the English language was rapidly expanding. If you find some words in Renaissance drama estranging, alienating, or confusing, it may well be that many early modern men and women did too...that is, that they encountered a lot of words for the very first time in the Renaissance theater).
4. Defining Your Term
While the meanings of words differ according to where they are placed in a sentence, a speech, or a play, they also differ according to their place in time, in history. The Oxford English Dictionary will offer nuanced and historically specific definitions of words--and as such, is an invaluable tool for any analysis of words in Shakespeare. This dictionary will enable you to trace the etymologies of words and will give you a sense (through specific quotations from texts of different historical periods) of which meanings were in circulation at a particular time. The words we read in early modern texts can often seem deceptively familiar and the OED can help to complicate a close textual analysis. Whereas the word "individual," for example, now signifies, according to the Webster Dictionary, "existing as an indivisible whole," if you search the word in the OED, you will see an entry that looks quite a bit different. Go to the OED and search "individual." As you will see, in the Renaissance, "individual" meant both "That [which] cannot be separated; inseparable" AND "Existing as a separate indivisible entity; numerically one, single." Paradoxically, individual suggests BOTH a condition of autonomy (the self as separate from others) and dependence (the self as part of others). Along these lines, for fun you may want to have a look at the early modern meanings for terms such as "character," "person," "authenticity," etc.”
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Structuring your essay is up to you. Have an introduction? Sure. Don’t have an introduction? Also okay. Consider this aspect of the assignment creative in nature. Trust your instincts. I’m also available to walk through structures with you.
5. Use this website to learn how to properly cite the OED.
Samples:
Ear Dog Death
And a sample from a former student:
“Roderigo’s use of the term “purse” right in the second line of the play exposes the deceptive and manipulative nature of Iago’s relationship with him. In fact, Roderigo says that Iago “hast had [his] purse”, which, in a materialistic sense, means that Roderigo has been giving Iago money. Roderigo’s willingness shows that he and Iago has a deep-rooted relationship since he trusts Iago enough to entrust him with his money. However, although it is deep-rooted, it is a one-sided one, with Iago being the aggressive character and Roderigo being the submissive one. Indeed, Iago is so cunning that naive Roderigo cannot help but submit Kubus English 4, Othello, Assignment #1 Options to his manipulation and fund him. Interestingly enough, besides its monetary meaning, “purse” also refers to “a person’s conscience, [or] heart” (OED). Heart is typically regarded as a reference to faith and trust. In this sense, by showing that Iago “hast had [Roderigo’s] purse,” or heart, Shakespeare indicates that Iago already has Roderigo’s blind faithfulness and allegiance, which will come in handy later on in the play. The playwright’s placement of this word right in the second line is not accidental, but deliberate. He does not have the benefit of telling the readers the nature of his characters through narration like in prose, so he has to use his diction and placement of keywords such as “purse” intelligently. Thus, he utilizes this word this early in the play to show the audience the deep-rooted nature of Roderigo’s relationship with Iago, Roderigo’s submission into Iago’s manipulation, and Roderigo’s blind faithfulness to Iago. By establishing these character traits, Shakespeare allows the audience to better understand Iago’s and Roderigo’s behaviors later on, especially when Iago tricks Roderigo to sell all his lands and save his money. When Iago attempts to trick Roderigo for his money, Iago’s repeated use of the phrase “put money in thy purse” showcases his excellent craftiness and intelligence because it forces Roderigo to believe that if he does so, one day Desdemona will be his (1.3.237). In fact, Iago uses this phrase six times in only one speech to imprint in Roderigo’s mind the idea that it is in his best interest to sell all his lands and gather his money. Iago’s strategy here is to repeatedly reiterate this delusional idea, so much so that Roderigo ends up believing it. Iago, perhaps the most intelligent and cunning character in the play, recognizes Roderigo’s simple- minded nature and understands that he already has Roderigo’s trust, so all he has to do is to repeatedly bombard Roderigo’s ears with this idea. Also, notice the way Iago phrases his sentence, saying “thy purse” instead of just “purse”. He uses “thy” as the indirect object to convince Roderigo that Roderigo will be the possessor of the money, not anyone else. This indirect object use seems simple but it is actually paramount to Iago’s manipulation. The purpose of his manipulation is to get Roderigo to sell all his lands without knowing Iago’s ulterior motive, and this use of indirect object accomplishes just that. His repeated use of “purse” also shows the reader the materialistic nature of his relationship with Roderigo. Whereas the language of Othello and Desdemona is full of references to religion, indicating the purity of their love, Iago’s language to Roderigo contains languages that refers only to the material world. Typically, this kind of language involves references to money, greed, and especially deceit, which is the gist of Iago’s nature. Once again, by utilizing the word “purse,” the play masterfully shows the audience the cunning nature of Iago in terms of how he controls and manipulate Roderigo to accomplish his ulterior motives.”
Explore, discover, be delighted. Don’t even think about googling.
My office door is always open if you have any questions.
Aggressively search and destroy errors with extreme prejudice. I want to see you take more pride on your work. Proofread, proofread, proofread.
OPTION 3: “Now I am alone.”
Due Dates: Friday, April 6, 2018
Length: 350-word analysis and a 250-word soliloquy
Value: 100-pt essay grade
Submission: Submit to turnitin.com by 3:30 pm, 6 April 2018. Normal late policy applies.
Method: On your own
Most of us talk to ourselves in some way, sometimes aloud, but very few of us (I hope) have any vocal vehicle for sustained self- reflection. We may, of course, speak to ourselves silently lest we be labeled any number of cruel epithets by those who overhear us. Some thoughts are best kept to ourselves. That is, unless you’re a character in a play.
This option requires you to think more critically about ways in which Iago communicates his innermost and true thoughts. You’ll then produce a short soliloquy of your own from the perspective of Nora as she walks away from her home.
Soliloquy literally means talking alone, and it has been used as a form since the Greeks, though popularized by Shakespeare and his contemporary playwrights. In the theater, no thinking can be made directly available to the audience unless it is brought to speech, so it was necessary to propose a convention: the character would speak aloud, and the audience would understand that what they Kubus English 4, Othello, Assignment #1 Options were to imagine they were hearing was what the character was saying to himself, or what he would say if he were to give voice to his thought.
I’ve already mentioned in class that real drama occurs when characters keep things from each other. The ONLY time, in fact, that an audience should accept that what characters are saying is absolutely true is when a character is in soliloquy. In all other instances there’s the possibility of deceit. So it’s the responsibility of the playwright in a soliloquy to communicate what is absolutely true. Iago, for instance, is completely forthcoming about not knowing exactly what his plan is and what he really thinks about Othello and Roderigo. [NOTICE: Iago switches from prose to verse when Roderigo exits. Shakespeare uses this linguistic change to signal to his actors Iago was being deceptive and is now wholly forthcoming.]
Your tasks
FIRST: Choose either Iago’s soliloquy that ends 1.3 or 2.1, and write a short piece (350 words), analyzing language in action. What vexes him? What is his emotional state? How rational is he? What do we learn about his character--good, bad, or in between? And most important, how does his language convey those impressions? In other words, come to some insight into his character.
Your analysis is to be a very, very close reading of the speech. Use these questions to guide your thinking:
(1) What is driving Iago to this inner monologue that is really a dialogue?
(2) What factors in some larger imaginable scene of action have precipitated this conflict? What, that is, are we to understand as the circumstantial situation?
(3) What values and general factual beliefs -- what assumptions about the way the world is and should be -- can we infer Iago is committed to?
(4) What traits of character are expressed by Iago's carrying on with himself or herself in the way we witness?
SECONDLY: Though formal soliloquy is out of fashion today, playwrights and screenwriters still need ways of communicating inner thoughts. The Netflix series, House of Cards, is famous for its use of soliloquy, Frank Underwood confiding in the camera what he plans to do next. You’ll see characters writing letters, writing in diaries and journals, and sometimes filmmakers and theatre directors even use voiceover. But I want, as an exercise, to have you write a soliloquy (250 words) from the perspective of Nora as she walks away from her home at the end of A Doll’s House.
Think about the speech as a tiny play itself with a beginning, a middle, and an end. What do you want the character to realize by the end that he or she could not understand at the beginning? How does he or she come to that conclusion?
You DO NOT need to write in iambic pentameter. Write as one would speak on stage today.
Some tips
(1) The two words “AND YET” are your best friend.
(2) Don’t be afraid to have your character propose a question another character might propose had he or she been on stage. It’s a way of showing struggle within your character.
(3) Put the inciting incident in the first sentence. What problem is on the mind of the character?
(4) Your final sentence should be emotionally impactful so as to close out the scene or give your character a reason to be energized.
(5) Think of your soliloquy as dialogue, but simply give all of the speeches to the one character.
Kubus English 4, Othello, Assignment #1 Options
OPTION 4: One more time with feeling
Due Dates: Friday, April 6, 2018
Length: 5-7 minute film
Value: 100-pt essay grade
Submission: E-mail to or share with Mr. Kubus ([email protected]) by 3:30 pm, 6 April 2018. Normal late policy applies.
Method: In pairs or a group of three
Unlike some forms of literature, which are meant to be read silently to oneself, drama is dynamically oral and aural: it is meant to be spoken aloud and heard. In the field of Shakespeare Studies there is an ongoing debate about the nature of how we teach Shakespeare: should we teach it from a literary or a theatrical perspective? Why not both? I ask. This option gives you and your peers the opportunity to embrace the performative aspects of Othello and make them come to life here at Strake Jesuit.
Film Requirements:
1. Choose one or two other students. Choose wisely and well. Once you have chosen your partner or group, please let me know. You may choose from across my sections.
2. Choose a section of 150 lines or 1 soliloquy from Othello. The scene you choose must have a part or parts for each member of your group. Each person must have a more or less equal opportunity to contribute.
3. Decide who will play whom in the scene. Be sure that each group member is putting in an equal amount of work. The group member with no role or the smaller role should have more to do on the production side of the project, ie. coming up with a concept, costumes, etc. Play to your strengths; casting is half the battle.
4. You may set the scene in any time period and in any place.
5. Choose props, costumes, and set pieces.
6. Your film should have a music component.
7. Your film may be animated if you are so inclined as long as you have Shakespeare’s text in voice over.
8. All films must be e-mailed to or shared with Mr. Kubus ([email protected]).
OPTION 5: Directorial concept
Due Dates: Friday, April 6, 2018
Length: 1000 words + set model
Value: 100-pt essay grade
Submission: Submit to turnitin.com by 3:30 pm, 6 April 2018. Bring your set to class on 6 April. Normal late policy applies.
Method: In pairs
Kubus English 4, Othello, Assignment #1 Options
This assignment asks you to generate a concept for the staging of a hypothetical production of Othello and to communicate how these choices serve the play text, and what your choices attempt to communicate to an audience in 2018.
Assemble into pairs from across my sections. Begin a discussion about the play so far, sharing initial ideas for a production. What images, metaphors, and other patterns stick out to you that might translate well to the stage? Set up a schedule of meetings for working on the various aspects of the assignment. You are to dole out assignments evenly. Work closely on this. If you’re choosing this assignment you need to let me know in advance.
I. Directorial Concept
You must first define the central approach to the hypothetical production. For the purposes of this assignment, you will create a 1,000-word proposal that sets out the main elements of this central approach and explains why you have identified this as your approach, how it serves the play, and what these directorial choices may communicate to the audience. Your group proposal must address the following elements:
Setting: When (time period) and where (geographically) are you going to set your production? Why?
Historical/Political Context: What are the relevant historical circumstances that shape your choice in setting? How do these relate to the play? Relevant context includes political, social, and cultural events and movements that shape your concept of the production.
Directorial Statement: Here you must explain what choices you would make in the performance based on what the text is showing you, and you must discuss how these choices support the overall production concept (directorial and visual). The statement should make specific reference to moments in the scene in order to provide examples of performance choices. What does the sum of these choices say about what your version of the play is really about? What major choices did you make as they relate to character? You should also make mention of how your miniature set design informs the directorial concept, and what it attempts to communicate to the audience.
II. Set Design
Each pair will create a miniature, to-scale set design. The following elements should be considered when developing ideas for the ‘look’ of the production and assembling the set:
What color(s) will dominate the production? How does color relate to the directorial concept? What will the production’s lighting look like? Will stark images dominate, or softer, romantic images? What shapes, images, symbols, etc. influence your production’s design? What textures and materials fit the directorial concept?
For an example or two of some creative ideas, click here.