Othello plot summary pdf

Continue This article is about Shakespeare's tragedy. For the infusion game, see Reversi. For other purposes, see Othello (disambigation). Shakespeare's 1603 play by Russian actor and theatrical practitioner Konstantin Stanislavsky as Othello in 1896 Othello (Tragedy of Othello, The Moor of Venice) is a tragedy William Shakespeare is believed to have been written in 1603. It is based on the story of Un Capitano Moro (Moorish Captain) Cynthio (The Apprentice of Boccaccio), first published in 1565. The story revolves around two central characters: Othello, a Moorish general in the Venetian army, and his treacherous warrant officer Iago. Given his varied and enduring themes of racism, love, jealousy, betrayal, revenge and repentance, Othello is still often performed in professional and public theater alike, and has been a source for numerous opera, film and literary adaptations. Othello' character, the general of the Venetian army desdemona , the wife of Othello; Brabantio Iago's daughter , Othello's confidante, but jealous and treacherous warrant officer Cassio - faithful and most beloved captain Othello Emilia - wife of Iago and maid Desdemona Bianca - lover Cassio Brabantio - Venetian senator and father of Desdemona (also can be called Brabanzio) Roderigo is in love with the desdemona Duke of Venice Graziano - brother of Brabantio Lodovic - relative of Brabantio and cousin of Desdemona Montano - Othello's Venetian predecessor in the Cyprus government clown - servant of Senators Sailor officers Gentlemen, Messenger, Herald, Aides, Musicians, etc. Summary of Desdemona and Othello, Antonio Munoz Degrain Othello Costume - illustration by Percy Anderson for costume quirky, historical and theatrical, 1906 Act I Roderigo, a rich and depraved gentleman, complains to his friend Iago, warrant officer, that Iago did not tell him about the secret marriage between the president. Roderigo is upset because he loves Desdemona and asked her father, Brabantio, for her hand in marriage. Iago hates Othello for promoting a young man named Cassio over him, whom Iago considers less capable of a soldier than himself, and tells Roderigo that he plans to use Othello for his own advantage. Iago convinces Roderigo to wake Brabentio and tell him about his daughter's snub. Meanwhile, Iago runs away to find Othello, and warns him that Brabantio will come for him. Brabantio, provoked by Roderigo, is furious and will not rest until he encounters Othello, but he finds Othello's residence full of Guards of the Duke of Venice who prevent violence. In Venice received news that the Turks are going to attack Cyprus, and so Othello called to advise senators. Brabantio has no choice but to accompany Othello in residence where he accuses Othello of tempted by Desdemona witchcraft. Othello defends himself in front of the Duke of Venice, relatives of Brabantio Lodovico and Gratiano, as well as various senators. Othello explains that Desdemona was in love with him for the sad and compelling stories he told about his life before Venice, not because of any witchcraft. The Senate is satisfied as soon as Desdemona confirms that she loves Othello, but Brabantio leaves, saying that Desdemona will betray Othello: Look at her, Moor, if you have eyes to see. She deceived her father, and perhaps you , (Act I, Sc 3). Iago, still in the room, takes note of Brabentio's remark. On the orders of the Duke of Othello leaves Venice to command the Venetian armies against the invading Turks on the island of Cyprus, accompanied by his new wife, his new lieutenant Cassio, his warrant officer Iago and wife Iago Emilia as the escort of the Desdemona. Act II Party arrives in Cyprus to discover that the storm has destroyed the Turkish fleet. Othello orders a general celebration and leaves to end his marriage to Desdemona. In his absence, Iago drunk Cassio, and then persuades Roderigo to drag Cassio into a fight. Montano tries to calm the angry and drunk Cassio, and this leads to the fact that they fight each other. Montano was injured in the fight. Othello comes back and questions the men about what happened. Othello accuses Cassio of rioting and strips him of his rank. Cassio is distraught. Iago persuades Cassio to ask Desdemona to convince her husband to restore him. Iago Act III now convinces Othello to be suspicious of Cassio and Desdemona. When Desdemona throws a handkerchief (Othello's first gift), Emilia finds it and gives him to Iago, at his request, unaware of what he plans to do with it. Othello returns and, convinced Iago of his wife's infidelity with his captain, swears Iago in the death of Desdemona and Cassio, after which he makes Iago his lieutenant. Act III, Scene iii is considered a turning point in a play, as is the scene in which Iago successfully sates the seeds of doubt in Othello's mind, inevitably sealing Othello's fate. Act IV Iago plants a handkerchief in Cassio's apartment and then tells Othello to watch Cassio's reaction while Iago questions him. Iago goads Cassio on talk about her affair with Bianca, a local courtesan, but whispers her name so quietly that Othello believes that two men are talking about Desdemona. Later, Bianca accuses Cassio of giving her a second-hand gift he received from another lover. Othello sees this, and Iago convinces him that Cassio received a handkerchief from Desdemona. Furious and sick, Othello decides to kill his wife and tells Iago to kill Cassio. Othello continues to make Desdemona's life miserable and amazes her before visiting the Venetian nobility. Meanwhile, Roderigo that he didn't get any results from Iago in exchange for his money and effort to win Desdemona, but Iago convinces him to kill Cassio. Action V Picture of William Salter Othello crying over Desdemona's body. Oil on canvas, circa 1857.Roderigo, being manipulated by Iago, attacks Cassio on the street after Cassio leaves Bianca's apartment. Cassio wounded Roderigo. During the scuffle, Iago comes out from behind Cassio and cuts his leg hard. In the dark, Iago manages to hide his identity, and when Lodovico and Graziano hear Cassio's cries for help, Iago joins them. When Cassio identifies Roderigo as one of the attackers, Iago secretly strikes Roderigo to stop him revealing the plot. Iago then accuses Bianca of a failed plot to kill Cassio. Othello confronts Desdemona and then strangles her in his bed. When Emilia arrives, Desdemona protects her husband before he dies, and Othello accuses Desdemona of adultery. Emilia calls for help. Former Governor Montano arrives with Gratiano and Iago. When Othello mentions the handkerchief as evidence, Emilia realizes what her husband Iago did, and she exposes him, after which he kills her. Othello, belatedly aware of Desdemona's innocence, strikes the iago, but not fatally, saying that Iago is the devil, and he would prefer him to live the rest of his life in pain. Iago refuses to explain his motives, vowing to remain silent from now on. Lodovico detained Iago and Othello for the murders of Roderigo, Emilia and Desdemona, but Othello committed suicide. Lodovico appoints Cassio as Othello's successor and calls on him to punish Iago for his rightness. He then condemns Iago for his actions and goes away to tell others what happened. Othello's Sources is an adaptation of the tale of Italian writer Synthio Un Capitano Moro (Moorish Captain) from his Gli Hecatommithi (1565), a collection of 100 tales in the style of Decameron Giovanni Boccaccio. No English translation of Synthio was available during Shakespeare's lifetime, and the verbal echoes in Othello are closer to the Italian original than to Gabriel Chappuy's 1584 French translation. Cynthio's tale may have been based on an actual incident that occurred in Venice around 1508. It also recalls an earlier story in Three Apples, one of the stories told in The Thousand and one nights (Arabian Nights). Desdemona is the only named character in Cynthio's tale, with several other characters identified only as Moore, Squadron Leader, Ensin and Encinta's Wife (corresponding to the play by Othello, Cassio, Iago and Emilia). Cynthio drew the moral (which he put in Desdemona's mouth) that it was unwise for European women to marry temperamental men of other nations. Cynthia's tale was described as a partially racist warning about the dangers of misconceptions. While closely followed Cynthia's tale in Othello's writing, he moved away from it in some detail. Brabantio, Roderigo, and a few minor characters are not found in Cynthio, for example, and Emilia Shakespeare takes part in a handkerchief of evil while her colleague in Cynthio is not. Unlike Othello, in Cynthio, Ensign (play Iago) lust after Desdemona and stimulated to revenge when she rejects it. Shakespeare's opening scenes are unique to his tragedy, as is the gentle scene between Emilia and Desdemona as the lady prepares for bed. The most striking departure of Shakespeare from Cynthio is the manner of death of his heroine. In Shakespeare, Othello strangles Desdemona, but in Cynthio Moore on the order of Ensin his wife is beaten to death with a sand-filled stocking. Cynthio describes every horrible blow, and when the lady is dead, Ensign and Moore place her lifeless body on her bed, smash her skull, and cause a cracked ceiling above the bed to collapse on her, giving the impression of his falling rafters causing her death. In Cynthio, two killers avoid detection. Moore then really misses Desdemona, and comes to hate the sight of Ensign. He demoted him and refuses to have him in his company. Ensign then seeks revenge by revealing to the Squadron Leader the involvement of the ant in Desdemona's death. They go from Cyprus to Venice and condemn the moor to the Venetian Senori; he's arrested, taken to Venice and tortured. He refuses to plead guilty and is sentenced to expulsion. Desdemona's relatives eventually find and kill him. Ensign, however, continues to escape detection in Desdemona's death, but is involved in other crimes while in Venice. He is arrested and dies after torture. Cynthio's wife, a warrant officer (Emilia of the play), survives her husband's death to tell her story. Moore Byattio is a model for Shakespeare's Othello, but some researchers believe that the poet also drew inspiration from several Moorish delegations from Morocco to Elizabethan England around 1600. Another possible source was Leo African's description of Africa. The book was a huge success in Europe, and was translated into many other languages, remaining the final reference work for decades (and to some extent, centuries) after that. An English translation of John Pori appeared in 1600 under the title The Geographical History of Africa, written in Arabic and Italian by John Leo a More... in what form Shakespeare may have seen him and reworked hints of Othello's character creation. Delivering the source of the plot, the book offered nothing about the meaning of the place of Venice or Cyprus. To know this, Shakespeare may have used Gasparo Contarini's Commonwealth and Government of Venice in a 1599 translation by Lewis Levkenor. Date and date The title page of the first quarto (1622) The earliest mention of the play is in the 1604 Revels Office account, which records that on Hallamas Day, being the first of Nouembar ... Kings Maiesties plaiers performed the Game at Banketinghouse in Whit Hall called The Moor of Venis. The work is attributed to Shaxberd. The Revels account was first printed by Peter Cunningham in 1842, and although its authenticity was once challenged, it is now regarded as genuine (as verified by A.E. Stamp in 1930). Based on its style, the play is usually dated 1603 or 1604, but arguments were made for dates as early as 1601 or 1602. The play was listed on the Stationers Register on October 6, 1621 by Thomas Walker, and was first published in a quart in 1622: The Tragedy of Othello, Moore of Venice. How it hath wase diuerse once acted on the Globe, and on Black-Friers, his Maiesties Seruants. Written by William Shakespeare. London. Printed by N.O. (Nicholas Oaks) for Thomas Wokley, and must be sold in his shop, in Orel and Child, in Brittans Bursse, 1622. The first page of Othello from the First Folio, printed in 1623 a year later, the play was included in a number of plays in the First Folio collected shakespeare's plays. However, the version in Folio is quite different in length and wording: as explained by the editors of Folger: The Folio game has about 160 lines that do not appear in the quarter. Some of these groups are together in rather extensive aisles. The folio also lacks the scattering of about a dozen lines or partial lines that can be found in the block. These two versions also differ from each other in their readings of numerous words. Scientists disagree on explaining these differences, and there was no consensus. Kerrigan suggests that Othello's 1623 folio version and a number of other plays may have been cleared in relation to the quarto to comply with the 1606 Abuse Restriction Act, which made it a crime at any stage of the game, Interluds, Hoy, Maygame, or Pageant, iestingly, and prophanely, to speak, or vse the holy name of God, or Christ Iesus, or The Holy Spirit, or The Spirit. This is not incompatible with the assumption that the quarto is based on an early version of the play, while Folio presents a revised version of Shakespeare. It is also possible that the quarto was cut in the printing house to meet a fixed number of pages. Most modern publications are based on a longer version of Folio, but often include reading words in the quarto when the text of Folio seems mistaken. The quartos were also published in 1630, 1655, 1681, 1695, 1699 and 1705. The Jealousy Topics This section does not cite any sources. Please help improve this section by adding links to reliable sources. Non-sources of material can be and removed. (July 2020) (Learn how and when to delete this template message) Othello is known among literary scholars for the way he portrays human emotions of jealousy. Throughout the play, good-natured characters make ill-considered decisions based on the jealousy they feel, most notably Othello. In the early acts, Othello is portrayed as a typical heroic figure and possesses remarkable qualities, written with the intention of winning the favor of the audience; however, as the game goes on, jealousy manipulates his decisions and howls him into sin. While most of the evil that Othello performs in the play can be cited as coming from Iago, it is jealousy that motivates him to perform wicked acts. When Iago emphasizes the almost excessive amount of time that Cassio and his wife, Desdemona, spend together, Othello is filled with rage and, after a series of events, will kill the one he loves. Shakespeare explores the ugly traits of a man in this opus and perfectly represents the idea of a tragic hero in Othello, who defeats the defendants early on but continues to make bad, almost evil, decisions that will make him more difficult for the audience as he does before his eventual demise. This idea of a tragic hero clarifying through the use of jealousy is one of the various notable themes present in Othello. Iago vs. Othello This section needs additional quotes to check. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. (July 2020) (Learn how and when to delete this message template) Although its title suggests that the tragedy belongs primarily to Othello, Iago plays an important role in the plot. It reflects an archetypal villain and has the largest share of dialogue. In Othello, it is Iago who manipulates all the other characters in their character, controlling their movements and preparing them into an intricate web of lies. He achieves this by getting closer to all the characters and playing on their weaknesses, while they call him honest Iago, thereby further controlling his characters. A.K. Bradley, and more recently Harold Bloom, were the main proponents of this interpretation. Other critics, especially in the late twentieth century (after F. R. Leavis), focused on Othello. The racial portrait of Abd el-Houed bin Messaoud bin Mohammed Anoun, the Moorish ambassador to the queen Elizabeth I in 1600, was sometimes offered as inspiration for Othello. Although the characters described as The Moors appear in two other Shakespeare plays (Tit andronicus and the Merchant of Venice), such characters were a rarity in modern theatre, and they were unknown to take center stage. There is no consensus on Othello's ethnicity. Arden Shakespeare's editor E.A. Honigmann concluded that race is ambiguous. The Renaissance representation of the Moors was vague, diverse, inconsistent and contradictory. Critics have found that the term mur refers to black people in general, and is used interchangeably with terms such as African, Somali, Ethiopian, Negro, Arab, Berber and even Indian to refer to a figure from Africa (or beyond). The use of the word black (e.g. Haply for I am black) is insufficient evidence for any precise racial classification, Honigmann argues, since black can simply mean a swarthy for Elizabethans. Iago twice uses the word Barbary or Varvara to refer to Othello, apparently referring to the Barbary coast inhabited by the Berbers. Roderigo calls Othello thicklips, which seem to refer to sub-Saharan African faces, but Honigmann counters that, as these comments are all intended as insults by symbols, they should not be taken literally. However, Jiotsna Singh wrote that Brabantio Desdemone's opposition to marrying Othello - a respected and respected general - made no sense except in racial terms, referring to a scene in which Brabantio accuses Othello of using witchcraft to make his daughter fall in love with him, saying it was unnatural for Desdemona Othello. Singh argued that because people with dark complexion are common in the Mediterranean, a Venetian senator like Brabantio opposes Desdemona marrying Othello for being just dark, meaningless, and that Othello's character was supposed to be black. Michael Neill, editor of The Oxford Shakespeare, notes that the earliest critical references to the color of Othello (a critique of Thomas Reimer's play in 1693 and an engraving of 1709 in the Shakespearean edition of Nicholas Rowe) suggest that he is sub-Saharan, while the earliest known North African interpretation was only in Edmund Tan's 1814 production. Honigmann discusses the view that Abd el-Houed bin Messaoud bin Mohammed Anoun, the Moorish ambassador of the Arab Sultan barbaris (Morocco) to queen Elizabeth I in 1600, was one of Othello's masterminds. He stayed with his entourage in London for several months and held many discussions. Although Shakespeare's play was written only a few years later, Honigmann doubts that Ben Messaud himself had a significant influence on it. Artist William Mulready portrays American actor Ira Aldridge as Othello. Walters Art Museum. Othello is called the barbarian horse (1.1.113) and lustful Moor (1.1.127). At 3.3 he denounces Desdemona's alleged sin as black as my own face. The physical white of Desdemona is otherwise represented in opposition to Othello's dark skin: 5.2 that whiter skin it, than snow. says Brabantio that the old black ram / is tupping your white ewe (1.1.88). In Elizabethan Elizabethan The word black can offer a variety of concepts that go beyond the physical color of the skin, including a wide range of negative connotations. In the 19th century, Othello was often celebrated as an Arab Moor. He was first played by a black man on the London stage in 1833, the most important of the nineteenth century Othellos, an African-American Ira Aldridge, who was forced to leave his country to make his career. Whether he meant that Othello was a Muslim or a black man or both in the 19th century and much of the 20th century, many critics tend to see the tragedy as racially motivated, seeing interracial marriages as aberrations that could end badly. Given Othello's opinion, the play became particularly controversial during the apartheid era, where interracial marriage was banned and Othello's performances were discouraged. The first big-screen production of casting a black actor like Othello didn't come until 1995, with Laurence Fishburne opposite Kenneth Branagh in Iago. In the past, Othello was often portrayed as a white actor in black or in a black mask: later actors who chose to overshadow include Ralph Richardson (1937); Orson Velez (1952); John Gielgud (1961); Laurence Olivier (1964); and Anthony Hopkins (1981). Black black American actor Paul Robson played the role in three different productions from 1930 to 1959. Casting the role comes with political overtones. Patrick Stewart played the role alongside the otherwise all-black cast in the 1997 Shakespeare Theatre Company production of The Play and Thomas Thieme, also White, played Othello in the 2007 Munich Kammerspiele production at the Royal Shakespeare Theatre, Stratford. Michael Gambon also took over the role in 1980 and 1991; their performances were critically acclaimed. Carlo Rota, of Mediterranean (British Italian) heritage, played the character on Canadian television in 2008. Race starring is often seen as a way of Shakespeare is isolating the character, both culturally and visually, from Venetian nobility and officers, and isolation may seem more authentic when a black actor takes on the role. But issues of race cannot be reduced to a simple decision to play a role. In 1979, Keith Fowler's production of othello mixed races across the company. Produced by the American company Revels at the Empire Theatre (renamed the November Theatre in 2011) in Richmond, Virginia, this production starred African-American actor Clayton Corbin in the title role, starring Henry K. Ball, a Hawaiian mixed ethnicity actor playing Iago. Othello's army consisted of both black and white mercenaries. Iago's wife Emilia was played by popular black actress Marie Goodman Hunter. [39] In 2016, a production at the New York Theatre Studio, directed by Sam Gold, also effectively used a mixed cast, starring English actors David Oyelowo as Othello and Daniel Craig as Iago. Desdemona was played by American actress Rachel Brosnahan, Cassio played by Finn Whittrock, and Emilia played by Marsha Stephanie Blake. As the Protestant Reformation of England proclaimed the importance of pious, controlled behavior in society, modern Englishwoman became a tendency to supplant the undesirable qualities of barbarism, betrayal, jealousy and libidinization on those who are considered others. The alleged characteristics of black men, or others, were provoked and popularized by the Renaissance dramas of the time; for example, the betrayal of black men by george Peel's The Battle of Alcazar (1588). It is claimed that it is Othello's other that makes him so vulnerable to manipulation. Viewers at the time expected Othello to be unsure of his race and the implied age gap between him and Desdemona. The religious and philosophical name Moore implies is religious other of North African or Middle Eastern origin. While the actual racial definition of the term was grim, the consequences were religious as well as racial. Many critics pointed to references to demonic possession throughout the play, especially in connection with Othello's capture, a phenomenon often associated with possession in the popular consciousness of the time. Thomas M. Vosar, in a 2012 article in Philosophy and Literature, suggests that epileptic seizures are associated with the problem of mind and body and the existence of the soul. Hero There have been many different views on Othello's character over the years. A.K. Bradley calls Othello the most romantic of all Shakespeare's characters (by hero Bradley means the main character) and the greatest poet of all. On the other hand, F.R. Leavis describes Othello as selfish. There are those who also take a less critical approach to the character of Othello, such as William Hazlitt, who said: Nature is a noble Moor ... but his blood is of the most flammable kind. Conversely, many scholars have seen Iago as an antihero. V.H. Auden, for example, noted that any consideration of the play should be primarily occupied not by its official hero, but by the villain. The production history poster for the 1884 American production of Thomas W. Keane in the 10th century has an unusually detailed track record. The first, of course, famous performance took place on November 1, 1604 at Whitehall Palace in London, being mentioned in the Revels account on Hallamas Day, being the first of Nouembar, 1604, when Kings Maiesties plaiers performed the Game at Banketinge House in Whit Hall Called The Moor Venice. The play there is attributed to Shakesbird. Subsequent performances took place on Monday, April 30, 1610, at the Globe Theatre, and in Oxford in September 1610. On November 22, 1629 and May 6, 1635, he played at the Blackfriars Theatre. Othello was also one of twenty plays performed by the royals in the winter of 1612, in honor of the wedding of Princess Elizabeth and Frederick V, the voter of Palatine. At the beginning of the Restoration era, on October 11, 1660, Samuel Pepys saw the play at the Cockpit Theatre. Nicholas Burt starred, starring Charles Hart as Cassio; Walter Clooney gained notoriety for his Iago. Shortly thereafter, on December 8, 1660, Thomas Killigre's new Royal Company performed a play at the Vere Street Theatre, starring Margaret Hughes as Desdemona - probably the first professional actress to appear on the public stage in England. It may be one of the indexes of the power of the play that Othello was one of the few Shakespearean plays that were never adapted and altered during the restoration and eighteenth century. As Shakespeare regained popularity among nineteenth-century French romantics, the poet, playwright and writer Alfred de Vigner created a French translation of Othello called Le More de Venise, which premiered on October 24, 1829, at Comedy France. Famous nineteenth-century Othellos included Ira Aldridge, Edmund Keane, Edwin Forrest, and Tommaso Salvini, and the outstanding Jagos were Edwin Booth and Henry Irving. 20th century Paul Robson as Othello, photographed by Carl Van Vechten (1944)Advertising for Columbia Masterworks Records release Othello (1945)The 1943 production of Othello, starring Paul Robson and Uta Hagen, is the record for most plays of any play Shakespeare has ever created on Broadway. The most notable American production may be Margaret Webster's 1943 production with Paul Robson as Othello and Jose Ferrer as Iago. This production was the first in American history to show a black actor playing Othello with an otherwise all-white cast (there have been all-black productions of the play before). He ran for 296 performances, almost twice as many as any other Shakespearean play ever created on Broadway. Although it never starred, it was the first lengthy rendition of Shakespeare's play released at the plates, first on a multi-set set of 78 RPM and then on a 3-LP one. Robson first played a role in London in 1930 in an cast that included Peggy Ashcroft as Desdemona and Ralph Richardson as Roderigo, and returned to him in 1959 in Stratford-upon-Avon with co-stars Mary Ur, Sam Wanamaker and Vanessa Redgrave. Critics reacted ambiguously to the 1959 flash that included Midwestern accents and rock 'n' roll drum beats, but gave Robson good reviews in the first place. W. A. Darlington of The Telegraph rated Othello Robson as best best ever seen, while the Daily Express, which for years before publishing a consistently caustic article about Robson for his left-wing views, praised his strong and public performance (although, in turn, suggested that this was a triumph of presence not working). The actors alternated the roles of Iago and Othello in productions to arouse the interest of the audience from the nineteenth century. Two of the most notable examples of this swap role were William Charles Macready and Samuel Phelps in Drury Lane (1837) and Richard Burton and John Neville at the Old Vic (1955). When Edwin Booth's tour of England in 1880 was not well received, Henry Irving invited Booth to alternate the roles of Othello and Iago with him in London. The stunt renewed interest in Booth's tour. James O'Neill also alternated roles as Othello and Iago with Booth. American actor William Marshall starred in at least six productions. His Othello was named by Harold Hobson of the London Sunday Times as the best Othello of our time, continuing: ... nobler than Tearle, more combative than Gielgud, more poetic than Valk. From his first recording, slender and superbly tall, framed in a high Byzantine arch, clad in white samite, mystic, remarkable, figure of Arab romance and grace, to his last stabbing in his stomach, Mr. Marshall rode without a breakdown of the play's immense rhetoric, and at the end the house rose to him. Marshall also played Othello in the jazz musical version of Catch My Soul, with Jerry Lee Lewis as Iago, in Los Angeles in 1968. His Othello was recorded in 1964 with Jay Robinson as Iago and on video in 1981 with Ron as Iago. The 1982 Broadway production starred James Earl Jones as Othello and Christopher Plummer as Iago, who became the only actor to receive a Tony Award nomination for his performance of the play. When Laurence Olivier gave his acclaimed performance of Othello at the Royal National Theatre in 1964, he developed an event of stage fright that when he was alone on stage, Frank Finley (who played Iago) would have to stand backstage where Olivier could see him to calm his nerves. This performance was recorded entirely on the LP, and filmed on demand in 1965 (according to Olivier's biography, tickets to the stage production are notoriously difficult to obtain). The film version still holds the record for the most Oscar nominations ever given to a Shakespeare film - Olivier, Finley, Maggie Smith (as Desdemona) and Joyce Redman (as Emilia, Wife of Iago) were nominated for an Oscar. Olivier was one of the last white actors to be widely recognized as Othello, although the role was continued to be played by performers such as Donald Sinden in the Royal Shakespeare Company in 1979-1980, Paul Scofield at the Royal National Theatre in 1980, Anthony Hopkins in Tv Shakespeare productions (1981) and Michael Gambon in a production in Scarborough directed by Alan Ayckbourn in 1990. Gambon was in a previous production of Olivier. In an interview Gambon commented: I was not even the second gentleman in this. I didn't have any queues at all. I was in the back like this, standing for an hour. That's what I used - I had a metal helmet, I had an ear plug and we listened to The Archers. No one knew. The whole line listened to the Archers. And then I went and played Othello myself in Birmingham Rep I was 27. Olivier sent me a telegram the first night. He said, Copy me. He said, Do what I once did. Olivier used to lower his voice for Othello, so I made mine. He drew big black women. You couldn't have done it today, you'd have been shot. He had a full negro face. And hips. I did it all. I copied it for sure. Except I had a pony tail. I played him like an Arab. I stuck the pony tail with the bell on the end of it. I thought it would be nice. Every time I moved my hair went wild. The British blackening for Othello ended with Gambon in 1990; however the Royal Shakespeare Company did not run the play at all on Stratford's main stage until 1999, when Ray Fearon became the first black British actor to take part, the first black man to play Othello with the RSC with Robson. In 1997, Patrick Stewart took on the role of Othello in the Shakespeare Theatre Troupe (Washington, D.C.) in a race-bending performance, in a photo of a negative production of a white Othello with an otherwise all-black cast. Stewart wanted to star from the age of 14, so he and director Jude Kelly turned the play over to make Othello a comment about a white man, moving into black society. The interpretation of the role expands, and theatre companies cast Othello as a woman or invert the gender of the entire cast to study gender issues in Shakespeare's text. The companies also decided to split the role between several actors during the performance. The Canadian playwright Anne-Marie MacDonald's 1988 award-winning play Goodnight Desdemona (Good Morning Juliet) is a revision of Othello and Romeo and Juliet, in which an academic deciphers a mysterious manuscript she believes is the primary source of tragedies, and is transported in the plays themselves. 21st Century Othello opened at Donmar's warehouse in London on December 4, 2007, directed by Michael Grandage, with Chiwetel Ejiofor as Othello, Ewan McGregor as Iago, Tom Hiddleston as Cassio, Kelly Reilly as Desdemona and Michelle Fairley as Emilia. Ejiofor, Hiddleston and Fairley received nominations for the Laurence Olivier Award, while Ejiofor won. Stand-up comedian Lenny Henry played Othello in a 2009 production of North Broadsides in collaboration with the West Yorkshire Playhouse. In the In 2016, the historian Onyeka produced the play Young Othello, a fictional film about Othello's young life before the events of Shakespeare's play. In June 2016, baritone and actor David Serero starred in a Moroccan adaptation with Judeo-Arab songs and an opera version of Verdi in New York. In 2017, Ben Naylor directed a play for the Pop-up Globe in Auckland, starring Maori te Koe Tukaka as Jasmine Blackborough as Desdemona and Hocon Smestad as Iago. The production moved to Melbourne, Australia, with another Maori actor, Regan Taylor, taking on the lead role. In September 2013, a Tamil adaptation called Othello, The Fall of the Warrior was directed and produced in Singapore by Subramanian Ganesch. Adaptation and Cultural References Home Article: Othello in the popular culture of Othello as a literary character has appeared in many representations in popular culture for several centuries. There have also been more than a dozen adaptations of Othello. Links to Cinthioʹs fairy tale: Source Shakespeareʹs Othello (PDF). St. Stephen's School. B with Shakespeare, William. Four tragedies: Hamlet, Othello, King Lear, Macbeth. Bantam Books, 1988. Young, John G., M.D. Essay: What is creativity?. Adventures in Creativity: Multimedia Magazine. 1 (2). Archive from the original on August 20, 2008. Received on October 17, 2008. Virgil.org (PDF). Received on August 18, 2013. Shakespeare, William. Othello. Wordsworth Editions. 12. Received from Google Books on 5 November 2010. ISBN 1-85326-018-5, 978-1-85326-018-6. Bevington, David and Bevington, Kate (translators). Un Capitano Moreau in four tragedies: Hamlet, Othello, King Lear, Macbeth. Bantam Books, 1988. 371-387. Professor Nabil Matar (April 2004), Shakespeare and elizabethan stage Moor, Sam Wanamaker Lecture, Shakespeare's Globe Theatre (2006), Muslims in London, 14-15, Greater London Office) - Black, Crofton (2002). Decrition del Africa Leo Afrikan and his translations of the sixteenth century. In the journal of the Varburg and Courtauld Institutes. 65: 262–272. JSTOR 4135111. A man of two worlds. Archive from the original january 13, 2010. Received on June 7, 2018. Lois Whitney: Did Shakespeare know Leo African? PMLA 37.3 (September 1922:470-483). David McPherson (autumn 1988). Venice of Levkenor and its sources. Renaissance quarterly. University of Chicago Press. 41 (3): 459–466. doi:10.2307/2861757. JSTOR 2861757. Jonathan Bate (2004). Shakespeare Islands. In Clayton, Tom; Shakespeare and the Mediterranean. ISBN 0-87413-816-7. Sanders, Norman (2003, p.), New Cambridge Shakespeare, page 1. E.A.J. 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London: Thomas Nelson, 1997, page 15. a b Singh, Jyotsna Postcolonial Criticism page 492-507 from Shakespeare's Oxford Guide, ed. Stanley Wells and Lena Cowan Orlin, Oxford: OUP, 2003 p.493. Michael Neill, Ed. Othello (Oxford University Press), 2006, page 45-47. Honigmann 2-3. Othello. Walters Art Museum. Doris Adler, Rhetoric of Black and White in Othello Shakespeare quarterly, 25 (1974) - Oxford English Dictionary, Black, 1c. Globe Guide to Shakespeare. Profile books. page 342. ISBN 978-1-78125-634-3. Singh, Jyotsna Postcolonial Critique page 492-507 from Shakespeare's Oxford Guide, Ed. Stanley Wells and Lena Cowan Orlin, Oxford: OUP, 2003 p. 493-494. Singh, Jyotsna Postcolonial Critique page 492-507 from Shakespeare's Oxford Guide, Ed. Stanley Wells and Lena Cowan Orlin, Oxford: OUP, 2003 p. 494-495. a b Cartmell, Deborah (2000) Interpretation of Shakespeare on screen Palgrave Macmillan page 72-77 ISBN 978-0-312-23393-8 - b issue of race and Othello. Curtain up, D.C. Received on May 2, 2010. b William Shakespeare's Othello directed by Jude Kelly. Shakespeare's Theatre troupe. Archive from the original on July 27, 2011. Received on September 20, 2008. Michael Billington (April 5, 2007). Black or white? Casting can be a grey area of the Guardian article. April 5, 2007. Guardian. Received on August 18, 2013. Michael Billington (April 28, 2006). Othello (Theatrical Review) The Guardian Friday 28 April 2006. Guardian. Received on August 18, 2013. Othello. Cbc.ca. received on August 18, 2013. Roy Proctor, 'Othello' Honest on the Bare Stage, Richmond News Leader 10 February 1979 - Jones, Eldred (1971). Othello's compatriots. Charlottesville: Unive Virginia Press. Note also the character of Aaron Moor in Shakespeare's play Titus Andronicus Moore, n3, Oxford English Dictionary, 2nd edtn . Brownlow, F.V. (1979). Samuel Harsnett and the Meaning of Othello's 'Suffocation' Philological quarterly. 58: 107–115. Vosar, Thomas M. (2012). Body-Mind Aporia in the seizure of Othello. Philosophy and literature. 36 (1): 183–186. doi:10.1353/phl.2012.0014. S2CID 170806873. Oden, W. H. (1962). Dyer's hand (repr. ed.). London: Faber and Faber. page 246. OCLC 247724574. Shakespeare, William. Four tragedies. Bantam Books, 1988. Lumis, Catherine. William Shakespeare: Documentary Volume, Volume 263, Dictionary of Literary Biography, Detroit: Gail, 200-201. Potter, Lois (2002). Othello: Shakespeare in the play. Press of the University of Manchester. page 12. ISBN 978-0-7190-2726-0. F. E. Holliday, Shakespeare Companion 1564-1964, Baltimore, Penguin, 1964; 346-347. Wearing, J. P. (2014). London stage 1930-1939: Calendar of productions, performers and staff. Rowman and Littlefield. page 32. ISBN 978-0-8108-9304-7. Received on May 2, 2019. Duberman, page 477 - Duberman, page 733, notes for page 475-478 - Daily Express, April 10, 1959 - Jet Magazine, June 30, 2003 - The (London) Independent, July 6, 2003 - Christgau, Robert. Any old way you choose it, ISBN 0-8154-1041-7 - Laurence Olivier, Confessions of an Actor, Simon and Schuster (1982) page 262 - Theartsdesk WA: Actor Michael Gambon - Jasper Rees - 25 September 2010-2009 Art Table Ltd. Hugo Rifkind. The Times 9 February 2004 Black and White is more of a show. Entertainment.timesonline.co.uk. received on August 18, 2013. Independent article august 25, 1993. Edinburgh Festival. Independent.co.uk. August 25, 1993. Received on August 18, 2013. October 5, 2010 Docklands Archive 27 July 2011 in Wayback Machine - Canadian Theatre Encyclopedia. Canadiantheatre.com February 10, 2011. Received on August 18, 2013. Shakespeare's Othello Starring and Creative - Lenny Henry. Othellowestend.com. 11 November 2002. Archive from the original on October 19, 2009. Received on November 1, 2009. Young Othello - The Voice. Archive from the original september 10, 2017. Received on September 10, 2017. Young Othello - Good Readings. Received on September 10, 2017. - DAVID-SERERO-starring-as-OTHELLO-in-a-Moroccan-Style-this-June-in-New-York/cmbz/57282b750cf2051007a270c2 Sephardic OTHELLO will open in June at the Center for Jewish History. Broadway world. May 17, 2016. Actors. www.popupglobe.co.nz. Pop-up Globe. Archive from the original june 3, 2017. Received on May 22, 2017. Othello. PopUpGlobe. Archive from the original on October 9, 2017. William Shakespeare's Othello: The Fall of the Warrior, September 19-22, 2013, Goodman Arts Center. National Library Council of Singapore. Received on March 5, 2018. Wikisource's external link has the original text associated with this article: Othello Wikiquote has quotes related to: Othello Commons has related to Othello. Othello's Project Gutenberg Othello Navigator - Includes annotated text, search engine, and scene summary. Othello public domain audiobook on LibriVox Othello's Online Broadway database - lists numerous productions. Othello at the British Library removed from othello plot summary short. othello plot summary by scene. othello plot summary ks3. othello plot summary and analysis. othello plot summary bullet points. othello plot summary video. othello plot summary pdf. othello plot summary bbc bitesize

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