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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 -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
The Unconsummated Marriage in “Othello”
Goodfellow 1 K. A. Goodfellow Professor Henderson English 102 5 May 200X A Guiltless Death: The Unconsummated Marriage in Othello Although Desdemona and Othello are truly in love when they marry, they are unable to consummate their marriage in William Shakespeare's Othello. Because their marriage was tragically short (only three days), there were few opportunities for them to be together alone. When the opportunity did present itself, unforeseen circumstances arose and the moment was lost. This being the case, in murdering Desdemona, Othello kills a virginal wife -- a deeper irony considering that he murders her because he believes her to be unchaste. Desdemona is faithful before and during her marriage to Othello. Her own words defend the fact that she is an "honest" wife. After Othello accuses her for the first time of being a whore, Desdemona responds to Iago's queries of why Othello would thus accuse her with "I do not know. I am sure I am none such" (4.2.130). She continues to defend her virtue up to the moment of her death when she says "A guiltless death I die" (5.2.126). While Desdemona's words alone may not be enough proof of her faithfulness to Othello, her attendant, Emilia, also denies Othello's accusations of Desdemona. When Othello's questions Emilia about Desdemona's honesty, she replies "For if she be not honest, chaste, and true,/There's no man happy; the purest of their wives/ Is foul as slander" (4.2.18-20). As Desdemona's longtime servant, she is more aware than anyone Copyright (c) 2005, Pearson Education Inc., publishing as Pearson Longman. -
Jealousy and Destruction in William Shakespeare's
Crossing the Border: International Journal of Interdisciplinary Studies Volume 4; Number 1; 15 April 2016 ISSN 2350-8752 (Print); ISSN 2350-8922 (Online) JEALOUSY AND DESTRUCTION IN WILLIAM SHAKESPEARE’S OTHELLO Ram Prasad Rai (Nepal) ABSTRACT Othello is honest. He wants to establish an order and peace in the society. He falls in love with a white lady, Desdemona. Despite the discontentment of Desdemona’s father Brobantio, they marry each other. Iago, an evil-minded man, is not happy with the promotion of Cassio, a junior o! cer to Iago, to lieutenant’s post in support of the chief Othello. Iago becomes jealous to Cassio and plans to destroy the relation between Othello and Cassio in any way it is pos- sible. He uses Roderigo, a rejected suitor to Desdemona and Emilia, the innocent wife of Iago in his evil plot. Iago treacherously makes Desdemona’s handkerchief, a marriage gi" from Othello, reach in Cassio through Emilia. # en he notices Othello about the Apresence of the handkerchief in Cassio as an accusation of Desdemona’s falling in love with Cassio. In reality, both Cassio and Desdemona are innocent. # ey are honest and loyal to their moral position. But because of jealousy grown in Othello by Iago, Othello plans to murder his kind and truly loving wife and his dutiful junior o! cer Cassio. Othello kills Desdemona and Iago kills his wife Emilia as she discloses the reality about Iago’s evilness. Othello kills himself a" er he knows about Iago’s treachery. As a result, all the happiness, peace and love in the families of Othello and Iago get spoilt completely because of just jealousy upon each other. -
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. -
Othello, a Tragedy Act 1: Palace
Othello, A Tragedy Act 1: Palace Set - The Duke's Court Iago and Roderigo have started a rumor that Othello won over Desdemona through witchcraft. Before the Duke of Venice, Othello explains that he won Desdemona through his stories of adventure and war. Desdemona confirms this, and insists that she loves Othello. Act 2: Street Set - A Drunkard's Bar Iago gets Cassio drunk and convinces him to start a fight with a rival officer, Roderigo. Cassio accidentally wounds the Governor, and Othello is summoned. Iago tells Othello that it was Cassio that started the fight, and Othello strips Cassio of his title. Iago then tells Cassio that he should attempt to win over Othello through Desdemona. Act 3: Palace Set - Royal Chambers Cassio appeals to Desdemona to help him earn Othello's forgiveness. He leaves before Othello returns, however, and Iago uses this to convince Othello that Desdemona has betrayed him with Cassio. Desedemona makes things worse by attempting to convince Othello to forgive Cassio. Iago steals Desdemona's handkerchief and plants it on Cassio. Act 4: Palace Set - Private Chambers Othello growing suspicious of Desdemona, asks Iago for evidence. Iago suggests that he has seen Cassio with Desdemona's handkerchief. Othello asks Desdemona for her handkerchief, which she confesses that she has lost, and attempts to change the subject by pleading Cassio's case. Act 5: Palace Set - Private Chambers Othello confronts Desdemona, but does not believe her story. He kills her. After her death, he realizes what has happened and confronts Iago. They duel and both are wounded. -
The Inevitable Death of Desdemona: Shakespeare and the Mediterranean Tradition
THE INEVITABLE DEATH OF DESDEMONA: SHAKESPEARE AND THE MEDITERRANEAN TRADITION María Luisa Dañobeitia University of Granada Our endeavour in this paper is none other than examining the literary impact of an archaic preoccupation, honour and reputation. This preoccupation is almost omnipresent in many cultures but not every culture solves issues involving the injured honour of an individual, or that of family, or a clan, in an identical manner. Consequently it has been a motif that has given an ample number of writes the chance of creating stories with a single thematic nucleus: honour. There are many elements that could affect both honour and reputation, but in this paper we are concerned only with one specific type of honour: that which embraces the behaviour of a woman. This type of honour involves both a woman and man simply because the honour and good name of a man depends on the demeanour of his wife, or his mother, or even his own sister. To be a man whose honour has been stained by the sexual behaviour of a woman who is either related to him by blood ties, or by the bond of matrimony, is not a trivial matter. Society, not the law, does censure and ridicules him. So, for a man this type of aggression becomes an intolerable affront he must revenge if he wants to regain the respect of his society. The way in which a given community, or culture, regards this class of offense coerces the man to become the custodian of the honour of his family. Obviously to be this kind of keeper is difficult for it involves a great deal of voyeurism, since he must observe not only the sexual behaviour of his wife, is he has one, but that of the ladies of his family. -
Shakespeare's Othello Beyond the Boundaries of the Page
http://dx.doi.org/10.5007/2175-7917.2015v20n2p11 SHAKESPEARE’S OTHELLO BEYOND THE BOUNDARIES OF THE PAGE: AN ANALYSIS OF TWO FILMIC PRODUCTIONS Camila Paula Camilotti* Universidade Federal de Santa Catarina Abstract: This article aims at observing and analyzing two filmic productions ofWilliam Shakespeare’s Othello. The first, entitled Othello, was directed, produced and starred by Orson Welles in 1952 andthe second, also entitled Othello, was directed by Oliver Parker in 1995. My main interest in studying these two filmic productions is to observe – based on the notions of theatrical adaptation by Jay Halio (2000), Patrice Pavis (1992), and Allan Dessen (2002) – how each director constructed the seduction moment that happens in Scene III, Act III of Shakespeare’s playtext in their filmic productions. The analysis proves that two different conceptions, separated in time and space, are capable of making Shakespeare’s timelessness transcend and make the modern spectators aware of the fact that the human artistic capacity is able to cross unimaginable limits of creativity and transform a great literary work of art in a great (filmic or theatrical) spectacle. Keywords: Shakespeare’s Othello. Welles’ Othello. Parker’s Othello. Conception. I have’t. It is engendered. Hell and night Must bring this monstrous birth to the world’s light. (II.I 403-404) Whenever a text (in this case, a Shakespearian playtext) crosses the boundaries of the page to live in a theatrical or cinematic medium, with all its visual (and sonorous) elements,it has inevitably to go through several alterations in order to be seen and heard by an audience, in a certain time and space. -
Emilia's Rhetoric of Self-Resistance in Othello
“I nothing know”: Emilia’s Rhetoric of Self-Resistance in Othello Notes 177 SEDERI XIV 178 “I nothing know”: Emilia’s Rhetoric of Self-Resistance in Othello “I nothing know”: Emilia’s Rhetoric of Self-Resistance in Othello Eileen ABRAHAMS University of Texas at Austin ABSTRACT There can be little doubt that by filching Desdemona’s handkerchief Emilia catalyzes her husband’s actions against Othello. To be sure, the handkerchief supplies Iago with the ocular proof he needs to convince the Moor of Desdemona’s infidelity. However, there remains the question of how much, if any, moral responsibility is to be attributed to Emilia for her complicity in Iago’s plot. Critics concur that the question of why Emilia both lies directly to Desdemona and then neglects to speak up even when Othello angrily confronts his wife about the whereabouts of the handkerchief is a deeply problematic one. However, even a cursory glance at the literature points to a critical divide about the answer to this question. Although I agree with Carole Thomas Neely that Emilia is prey to the dominant ideology of wifely virtue, I do not believe that it is either her conception of duty or her desire to act in accord with this ideology that compels her to lie. As the willow scene makes clear, Emilia recognizes the degree to which women’s pre-ordained social roles both consign them to suffer and restrict their freedom to act, and to a certain extent, she accepts her social role. But she does not identify with it, that is, she does not buy into it, and for the right price, she would defy it. -
Discuss How Cinematic Devices Are Used in Order to Chart the Progressive Psychological Breakdown of the Main Protagonist
Discuss how cinematic devices are used in order to chart the progressive psychological breakdown of the main protagonist Frances Hannon This essay will analyse Orson Welles’s Othello (1952)1, and Akira Kurosawa’s Ran (1985)2, in order to explore how each director uses cinematic devices in order to articulate the mental deterioration of a main protagonist. Although vastly different, both films are created by directors who are renowned for their experimental and innovative approaches to film making. It is, therefore, interesting to consider how both directors take a similar approach within these films, by choosing to reduce dialogue and instead invest their energy into the cinematography of their adaptations. As Judith Buchanan states, Kurosawa’s Ran, ‘makes a habit of minimising or even eliminating speech whenever a moment may instead be communicated by a piece of visual drama’3. This observation rings true in Welles’s work too, with Marguerite H. Rippy stating that, Welles’s films are adaptations that conjure Shakespeare as ‘image set against sound’4. As a result, both Buchanan and Rippy highlight how visuals have an equal, if not superior role, to the language used within their productions. With this in mind, I will be exploring how both directors frequently use various visual elements to create a communicative environment, whereby cinematic composition becomes metaphor for the internal psychologies of their protagonists. A further discussion will consider how each director’s experimental approaches to film extends beyond cinematography, looking at their decisions to incorporate elements from different dramatic forms and genre’s, such as, Film Noir and Noh 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.