Othello Provides the Full Text of the Bard's Play
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 -
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. -
Drama at the First Time Played on the Ancient Greeks Was Performing
CHAPTER I INTRODUCTION A. Background of the Study Drama at the first time played on the ancient Greeks was performing the works of Aeschylus and Sophocles. The drama related with something religious rituals and folk celebrations across the world which has elements of the theatrical. They are the deep roots of drama. While in modern drama acted on the stage, there are a lot of combination and mixture between elements that support the soul on each scene. Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue. In certain periods of history (the ancient Roman and modern Romantic) some dramas have been written to be read rather than performed. In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience (Dean (1961) in http://www.ehow.com/facts_5192884_introduction-drama.html). But before the act on the stage, the actor must know the guideline of their dialogue on the script. The script is the main weapon used by the director, the actor, the music player and also setting team, where they worked together to solve what kind of situation appears on each scene within 1 the script. To read the script effectively, the actor needs to hear and see the character immediacy and to remain open and sensitive not only to what they do and say but what is implied or suggested by what they do and say. -
Plot Overview
Plot Overview O THELLO begins on a street in Venice, in the midst of an argument between Roderigo, a rich man, and Iago. Roderigo has been paying Iago to help him in his suit to Desdemona. But Roderigo has just learned that Desdemona has married Othello, a general whom Iago begrudgingly serves as ensign. Iago says he hates Othello, who recently passed him over for the position of lieutenant in favor of the inexperienced soldier Michael Cassio. Unseen, Iago and Roderigo cry out to Brabanzio that his daughter Desdemona has been stolen by and married to Othello, the Moor. Brabanzio finds that his daughter is indeed missing, and he gathers some officers to find Othello. Not wanting his hatred of Othello to be known, Iago leaves Roderigo and hurries back to Othello before Brabanzio sees him. At Othello‘s lodgings, Cassio arrives with an urgent message from the duke: Othello‘s help is needed in the matter of the imminent Turkish invasion of Cyprus. Not long afterward, Brabanzio arrives with Roderigo and others, and accuses Othello of stealing his daughter by witchcraft. When he finds out that Othello is on his way to speak with the duke, -Brabanzio decides to go along and accuse Othello before the assembled senate. Brabanzio‘s plan backfires. The duke and senate are very sympathetic toward Othello. Given a chance to speak for himself, Othello explains that he wooed and won Desdemona not by witchcraft but with the stories of his adventures in travel and war. The duke finds Othello‘s explanation convincing, and Desdemona herself enters at this point to defend her choice in marriage and to announce to her father that her allegiance is now to her husband. -
No Fear Shakespeare – Othello (By Sparknotes, Transcription by Alex Woelffer) -1
No Fear Shakespeare – Othello (by SparkNotes, transcription by Alex Woelffer) -1- Original Text Modern Text Act 1, Scene 1 Enter RODMERIGO and IAGO RODERIGO and IAGO enter. RODERIGO RODERIGO Tush! Never tell me. I take it much unkindly Come on, don’t tell me that. I don’t like it that you That thou, Iago, who hast had my purse knew about this, Iago. All this time I’ve thought As if the strings were thine, shouldst know of this. you were such a good friend that I’ve let you spend my money as if it was yours. IAGO IAGO 'Sblood, but you’ll not hear me! If ever I did dream of Damn it, you’re not listening to me! I never such a matter, abhor me. dreamed this was happening—if you find out I did, you can go ahead and hate me. RODERIGO RODERIGO Thou told’st me You told me you hated him. Thou didst hold him in thy hate. IAGO IAGO Despise me I do hate him, I swear. Three of Venice’s most If I do not. Three great ones of the city important noblemen took their hats off to him and 10 (In personal suit to make me his lieutenant) asked him humbly to make me his lieutenant, the Off-capped to him, and by the faith of man second in command. And I know my own worth I know my price, I am worth no worse a place. well enough to know I deserve that position. But But he (as loving his own pride and purposes) he wants to have things his own way, so he Evades them with a bombast circumstance sidesteps the issue with a lot of military talk and 15 Horribly stuffed with epithets of war, refuses their request. -
The Unraveling of Shakespeare's Othello
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2012 The nrU aveling of Shakespeare's Othello Corey M. Jay Scripps College Recommended Citation Jay, Corey M., "The nrU aveling of Shakespeare's Othello" (2012). Scripps Senior Theses. Paper 117. http://scholarship.claremont.edu/scripps_theses/117 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Unraveling of Shakespeare’s Othello A Senior Thesis in Costume Design by Corey M. Jay Submitted to Scripps College in Partial Fulfillment of the Degree of Bachelor of Arts Professor Sherry Linnell Professor James Taylor Professor Arthur Horowitz Professor Eric Haskell Friday, April 27th, 2012 Table of Contents I. Introduction…………………………………………………………………………………………………….…………….1 II. Text Analysis………………………………………………………………………………………………………………….2 III. Characters…………………………………………………………………………………………………………………….6 IV. Plot Synopsis………………………………………………………………………………………………………………..14 V. Predominant Themes…………………………………………………………………………………………………..17 VI. Concept Statement………………………………………………………………………………………………………23 VII. Design Inspirations……………………………………………………………………………………………………….24 a. Pre‐Raphaelite Art Movement………………………………………………………………………….24 b. Alexander McQueen…………………………………………………………………………………………27 VIII. Production -
Study Guide Study Guide
Study guide Written by Sophie Watkiss Designed by JSW Creative Edited by Aimee Barnett Photographs by Johan Persson This programme has been made possible by the following generous supporters: Noël Coward Foundation Sir John Cass’s Foundation John Lyon’s Charity Universal Consolidated Group 1 Contents Section 1 Creative team Section 2 OTHELLO: an introduction to the play, cast and characters Section 3 Driving the narrative: the practical exploration of a sample of key speeches, soliloquies and scenes Section 4 The play’s setting and elements of design Section 5 A discussion with Michael Hadley (the Duke of Venice/Lodovico) and Tom Hiddleston (Cassio) Section 6 Footnotes and bibliography Section 7 Appendix: Information from Noël Coward Foundation 2 section 1 Creative Team Director: Michael Grandage Michael is Artistic Director of the Donmar Warehouse. For the Donmar: John Gabriel Borkman, Don Juan in Soho, Frost/Nixon (also Gielgud & Broadway), The Cut (also UK tour), The Wild Duck - Critics’ Circle Award for Best Director, Grand Hotel - Olivier Award for Outstanding Musical Production & Evening Standard Award for Best Director, Pirandello’s Henry IV (also UK tour), After Miss Julie, Caligula - Olivier Award for Best Director, The Vortex, Privates on Parade, Merrily We Roll Along - Olivier Award for Best Musical & Critics’ Circle Award for Best Director, Passion Play - Critics’ Circle & Evening Standard Awards for Best Director, Good. For the West End: Evita (Adelphi), Guys and Dolls - Olivier Award for Outstanding Musical Production (a Donmar production at the Piccadilly). As Artistic Director of Sheffield Theatres (1999-2005) work included: Don Carlos (also Gielgud) – Evening Standard Award for Best Director & German British Forum Award, Suddenly Last Summer (also Albery), As You Like It (also Lyric Hammersmith) – Critics’ Circle & Evening Standard Awards for Best Director, South Bank Show Award for Theatre. -
“I Must Be Circumstanced:” Bianca's Effect on Othello
“I Must Be Circumstanced:” Bianca’s Effect on Othello The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Bastin, Jennifer. 2017. “I Must Be Circumstanced:” Bianca’s Effect on Othello. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33826658 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “I Must Be Circumstanced:” Bianca’s Effect on Othello Jennifer Bastin A Thesis in the Field of English Literature for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2017 Abstract This study examines the inclusion of Bianca in William Shakespeare’s The Tragedy of Othello, Moor of Venice. What purpose did the character serve, if any? How does the play benefit from her creation? Previous scholarly criticism, along with a close textual analysis of both the play and its source material, provide a deeper understanding of the character. The investigation concludes that Bianca helps the audience decipher the play’s action by creating a triptych of romantic couples, providing a better picture of the main character by serving as his foil, and by providing catharsis for the audience, cementing the interpretation of the drama as tragedy. Author Biography Jennifer Bastin saw an uncut, repertory production of Hamlet at eight years old and has been in love with Shakespeare ever since. -
Synopsis of Othello
Synopsis of Othello n a Venice street at night, Iago tells Roderigo that OOthello, the Moorish general of the Venetian army, has eloped with Roderigo’s beloved Desdemona, daughter of Brabantio. Iago reassures Roderigo that he hates Othello because he made Michael Cassio his lieutenant while Iago remains the general’s ensign, a position of lower rank. Iago and Roderigo wake Brabantio and tell him of Desdemona’s flight. Brabantio storms off with officers to apprehend Othello. Brabantio arrives at Othello’s lodging at the same time as messengers who request the general’s presence before the Duke on state matters. The enraged Brabantio demands justice against Othello, and they depart to have audience with the Duke. Orson Welles as Othello and Suzanne Cloutier as The Duke and members of the Senate discuss news that Desdemona in a film version of Othello (1952). the Turks have launched a fleet to attack Venetian• controlled Cyprus. Brabantio accuses Othello of using witchcraft to ensnare his daughter. Othello describes Desdemona is unable to produce the handkerchief when their courtship; Desdemona is sent for and confirms that the angry Othello demands to see it. Later, Cassio meets she freely gave her heart to Othello. Brabantio,Bianca, his courtesan lover, and asks her to copy the saddened, accepts her decision. The Duke sends Othello embroidery of a handkerchief he found in his room. Iago to defend Cyprus, and Desdemona asks to accompany tells Othello that Cassio has confessed to infidelity with Othello on his campaign. Othello entrusts her care to Desdemona. Othello, overcome with passion, falls into a Iago and his wife, Emilia. -
The Function of Brabantio in Othello Author(S): Aerol Arnold Source: Shakespeare Quarterly, Vol
George Washington University The Function of Brabantio in Othello Author(s): Aerol Arnold Source: Shakespeare Quarterly, Vol. 8, No. 1 (Winter, 1957), pp. 51-56 Published by: Folger Shakespeare Library in association with George Washington University Stable URL: http://www.jstor.org/stable/2867518 . Accessed: 22/03/2013 07:56 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Folger Shakespeare Library and George Washington University are collaborating with JSTOR to digitize, preserve and extend access to Shakespeare Quarterly. http://www.jstor.org This content downloaded from 140.233.2.215 on Fri, 22 Mar 2013 07:56:09 AM All use subject to JSTOR Terms and Conditions The Function of Brabantio in Othello AEROL ARNOLD CHRACTE RIZATION", Northrop Frye wrote, "depends on function", and dramatic function "in its turn depends on the structure of the play: the character has certain things to do because the play has such and such a shape."' This judgment, I believe, ran be illustrated in the characterization of Bra- bantio. His function as the father of a daughter who elopes is to behave in a way that makes necessary Desdemona's and Othello's public declaration of their love. -
Othello Performance Synopsis
Before You Go...You Should Know... Othello Plot Synopsis Othello begins with a man named Iago, who is exceptionally good at manipulating others and causing trouble, tricking a gullible wealthy man named Roderigo into doing exactly what he wants. Roderigo is in love with the beautiful Desdemona, and has unsuccessfully asked her father to marry her; now, Desdemona has secretly run off and married a Venetian general, Othello, behind her father’s back. We find out early in the play that Iago hates Othello, for many reasons. One of his main complaints is that Iago believes that Othello should have promoted him for his services in the army instead of Michael Cassio – a young man who has less battle experience than Iago, but who is scholarly and honorable. Because of this hatred, Iago begins his many lies and schemes. First, he convinces Roderigo to publicly wake up Brabantio, Desdemona’s father, and tell him of her secret and hasty marriage to Othello. Iago is betting that Brabantio’s racism will cause him to become enraged, and try to break up their union. Othello is a Moor, meaning an inhabitant of lower Spain or Northern Africa. In the play, this means that Othello has a dark skin while everyone else has light. Brabantio believes Othello is more hot-tempered and uncivilized than the Venetians. He accuses Othello of employing witchcraft to woo his daughter because he cannot believe Desdemona would marry Othello willingly. He barges in on a war council, where the very respected Othello is advising the Duke of Venice and some senators about a Turkish fleet that is on the verge of attacking the isle of Cyprus. -
Iago and Metaphor
Iago and Metaphor Daniel Addis INTRODUCTION Metaphors are a powerful type of language. In The Poetics, Aristotle says, ―The greatest thing by far is to have a command of metaphor‖ (XXII 69-70). Unfortunately, most high school students do not have command of metaphor. This deficiency shackles their understanding of a vast amount of literature and muzzles expression of their feelings and thoughts. Therefore, as my students and I study Othello, I intend, with this unit, to improve their ability to interpret metaphors and spur them to create metaphors and use them in their writing. Metaphors are the tools we use to express abstract thoughts. The more abstract our thoughts, conversation, and writing, the more we use metaphors (Richards 92). Consequently, in order for our students to comprehend and digest sophisticated literature, they must have the capacity to interpret metaphors fairly well. A metaphor illustrates through comparison. This is the simplest definition of a metaphor, but, actually, a metaphor is not so simple. A metaphor is composed of two components, a vehicle, the word or phrase that describes, and the tenor, the object being described. Oh, beware, my lord, of jealousy It is the green-eyed monster which doth mock The meat it feeds on. (3.3.166-168) The tenor is jealousy and the vehicle is green-eyed monster. When we interpret a metaphor, we do not merely compare the tenor to the vehicle; we intertwine the tenor and the vehicle, and this juxtaposition enkindles our imagination and induces meaning and/or image (Funk 137; Richards 96-97, 120).