Shakespeare
OTHELLO
Cambridge School
Edited by Jane Coles Series editors: Richard Andrews and Vicki Wienand Founding editor: Rex Gibson
University Printing House, Cambridge CB2 8BS, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781107615595 Commentary and notes © Cambridge University Press 1992, 2014 Text © Cambridge University Press 1984, 2014 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1992 Second edition 2005 Third edition 2014 Printed in the United Kingdom by Latimer Trend A catalogue record for this publication is available from the British Library ISBN 978-1-107-61559-5 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
NOTICE TO TEACHERS IN THE UK
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Contents Introduction Photo gallery
iv v
Othello List of characters Act 1 Act 2 Act 3 Act 4 Act 5
1 3 49 93 145 185
Perspectives and themes Characters Coroner’s investigation The language of Othello Race and culture in Othello Critics’ forum Othello in performance Writing about Shakespeare Writing about Othello Timeline Acknowledgements
222 223 228 230 233 238 240 246 248 250 251
Cambridge School
Shakespeare
Introduction This Othello is part of the Cambridge School Shakespeare series. Like every other play in the series, it has been specially prepared to help all students in schools and colleges. The Cambridge School Shakespeare Othello aims to be different. It invites you to lift the words from the page and to bring the play to life in your classroom, hall or drama studio. Through enjoyable and focused activities, you will increase your understanding of the play. Actors have created their different interpretations of the play over the centuries. Similarly, you are invited to make up your own mind about Othello, rather than having someone else’s interpretation handed down to you. Cambridge School Shakespeare does not offer you a cut-down or simplified version of the play. This is Shakespeare’s language, filled with imaginative possibilities. You will find on every left-hand page: a summary of the action, an explanation of unfamiliar words, and a choice of activities on Shakespeare’s stagecraft, characters, themes and language. Between each act and in the pages at the end of the play, you will find notes, illustrations and activities. These will help to encourage reflection after every act and give you insights into the background and context of the play as a whole. This edition will be of value to you whether you are studying for an examination, reading for pleasure or thinking of putting on the play to entertain others. You can work on the activities on your own or in groups. Many of the activities suggest a particular group size, but don’t be afraid to make up larger or smaller groups to suit your own purposes. Please don’t think you have to do every activity: choose those that will help you most. Although you are invited to treat Othello as a play, you don’t need special dramatic or theatrical skills to do the activities. By choosing your activities, and by exploring and experimenting, you can make your own interpretations of Shakespeare’s language, characters and stories. Whatever you do, remember that Shakespeare wrote his plays to be acted, watched and enjoyed. Rex Gibson Founding editor This new edition contains more photographs, more diversity and more supporting material than previous editions, whilst remaining true to Rex’s original vision. Specifically, it contains more activities and commentary on stagecraft and writing about Shakespeare, to reflect contemporary interest. The glossary has been enlarged too. Finally, this edition aims to reflect the best teaching and learning possible, and to represent not only Shakespeare through the ages, but also the relevance and excitement of Shakespeare today. Richard Andrews and Vicki Wienand Series editors This edition of Othello uses the text of the play established by Norman Sanders in The New Cambridge Shakespeare.
iv
Othello tells the story of a black army general who has secretly married the white daughter of a leading politician. Will their marriage survive in the face of racism, jealousy and a struggle for power?
v
▲ Othello has no idea that his trusted ensign (standardbearer), Iago, is plotting against him. Iago says he is angry that Othello has promoted his younger colleague Cassio to the rank of lieutenant instead of him, but we never know exactly why Iago hates Othello so much. ▲
Iago enlists the help of a local gentleman, Roderigo, to stir up trouble for Othello and Desdemona. They tell Desdemona’s father about the secret marriage, and spread racist lies.
vi
▲ Meanwhile, a Turkish fleet threatens the island of Cyprus, and Othello is sent to command the Venetian forces. ▲
Othello is hailed as a ‘noble and valiant general!’ A terrible storm scatters and destroys the Turkish invasion fleet, and Othello lands safely in Cyprus.
vii
Othello is reunited with Desdemona, and he takes up official duties as commander of the occupying forces in Cyprus.
Othello is unaware that Iago is watching their every move. He plans to destroy Othello by suggesting that Desdemona is having an affair with the handsome Cassio.
viii
Iago tricks Cassio into getting drunk at a barracks party. After Cassio is involved in a drunken brawl, Othello dismisses him from office and promotes Iago in his place.
Meanwhile, Iago tells his wife Emilia to steal Desdemona’s handkerchief – an antique love token given to her as a wedding gift by Othello. Iago later places it in Cassio’s lodgings, as supposed evidence of Desdemona’s adultery.
ix
▲ Iago continues to whisper poisonous lies, rousing Othello’s jealousy and convincing him that Desdemona is unfaithful. ▲
All the while, Iago pretends to be Desdemona’s friend and confidant, maintaining his ‘honest Iago’ façade.
x
▼
Eventually, Iago’s lies and tricks move Othello to a jealous rage: ‘jealousy: / It is the green-eyed monster which doth mock / The meat it feeds on’.
▼ Othello attacks Desdemona, refusing to listen to reason.
xi
â–˛ Only after he has killed Desdemona does Othello discover the truth about her innocence. Grief-stricken and full of remorse, Othello kills himself. Iago is arrested.
xiixii
O
List of characters A black army general in the service of the Duke of Venice Othello’s wife, daughter of Brabantio IAGO Othello’s ensign (standard-bearer) EMILIA Iago’s wife, companion to Desdemona CASSIO Othello’s lieutenant BIANCA in love with Cassio OTHELLO
DESDEMONA
DUKE OF VENICE
LODOVICO
A Venetian senator, father of Desdemona A Venetian gentleman, in love with Desdemona Brabantio’s brother Brabantio’s relative
MONTANO
Governor of Cyprus
BRABANTIO RODERIGO GRATIANO
Senators of Venice Gentlemen of Cyprus CLOWN
Servant to Othello
Herald Messenger Musicians, soldiers, attendants, servants Sailor The action of the play takes place in Venice and Cyprus
1
Two men are in the middle of an argument. Roderigo accuses Iago of cheating him. Iago is angry about failing to gain the promotion that has gone instead to Michael Cassio.
Stagecraft A dramatic opening (in pairs) In the theatres of Shakespeare’s time, there was no electric lighting and no stage curtain. The playwright had to signal the start of the play by means of a dramatic opening scene. Here, the noisy audience would be silenced by two men in the middle of a heated argument, accompanied by much swearing. a Read this opening conversation (lines 1–34) aloud. Try reading it in several different ways and decide which sounds best. Can you bring out differences between the two characters? Discuss which words in the script give you clues as to how they should be spoken. For example, look carefully at the use of pronouns: in Shakespeare’s day, ‘thou’ indicated familiarity, or suggested that the speaker was addressing someone socially inferior; ‘you’ was a more polite or respectful form of address.
(a swear word)
Abhor me you may hate me
In personal suit personally requested
b Movie and theatre directors have chosen various ways to begin the play. Think about how you might want to set the scene – for example, how could you suggest to an audience that this opening scene takes place in Venice? Consider the ways the actors might enter the stage or screen, and what sound and lighting effects might imply a street at night.
Off-capped to him paid him their respects (by taking off their hats)
c The play opens halfway through an argument. Make up what you think Iago and Roderigo have been saying before the play begins. Improvise the full argument, making sure that your dialogue ends on the first line of the play.
rejects proposals made by my supporters
d Imagine you are preparing to direct a performance of Othello. Start a Director’s Journal and record your ideas (advice for actors, costume sketches, set designs) as you read through the play.
1 Michael Cassio – why does Iago dislike him? Iago explains why he believes he has not been promoted to the rank of lieutenant (lines 8–27). r Look carefully at the way Iago describes Cassio (lines 19–26) and pick out four key phrases that suggest why Iago is jealous of him. Compare your phrases with those of other students. How many do you have in common?
2
’Sblood by God’s blood
bombast circumstance fancy excuse
epithets of war military jargon Non-suits my mediators
Certes certainly arithmetician theorist (i.e. has studied the theory of war)
Florentine person from Florence squadron small group of soldiers devision strategic placing of soldiers
togèd consuls senators wearing the robes of peace had the election was chosen
Othello, the Moor of Venice Act 1 Scene 1
Venice A street at night Enter roderigo and iago. RODERIGO
IAGO
RODERIGO IAGO
Tush, never tell me, I take it much unkindly That thou, Iago, who hast had my purse As if the strings were thine shouldst know of this. ’Sblood, but you will not hear me. If ever I did dream of such a matter, Abhor me. Thou told’st me thou didst hold him in thy hate. Despise me if I do not: three great ones of the city, In personal suit to make me his lieutenant, Off-capped to him; and by the faith of man, I know my price, I am worth no worse a place. But he, as loving his own pride and purposes, Evades them with a bombast circumstance, Horribly stuffed with epithets of war, And in conclusion, Non-suits my mediators. For ‘Certes’, says he, ‘I have already chosen my officer.’ And what was he? Forsooth, a great arithmetician, One Michael Cassio, a Florentine, A fellow almost damned in a fair wife, That never set a squadron in the field, Nor the devision of a battle knows More than a spinster, unless the bookish theoric, Wherein the togèd consuls can propose As masterly as he. Mere prattle without practice Is all his soldiership. But he, sir, had the election,
5
10
15
20
25
3
Iago continues to complain about ‘the Moor’ and the system of promotion. He says he pretends to be a faithful officer, but follows Othello only to serve his own purposes.
Characters First impressions of Iago (in small groups) a Read the script opposite aloud several times, sharing out the lines between all members of the group (hand over to the next person at each full stop, question mark or exclamation mark). b On a large, plain piece of paper, write ‘Iago’ in the centre (see the diagram below). In the script, look for the key statements that Iago makes about himself. What words reveal something about his character or motivation? Write these quotations on the second layer of the diagram. On the outer layer, explain in your own words what you believe each quotation tells us about him. c When you have finished, join together with other groups and compare your sheets. Explain how and why you chose your particular quotations.
lee’d pacified (sailing terminology) counter-caster accountant Moorship ‘Moor’ indicates someone from North Africa
ancient ensign, standard-bearer Preferment promotion letter academic qualifications affection favouritism old gradation conventional promotion through the ranks
affined bound
d Pool your ideas to produce one final diagram for display on your classroom wall. obsequious bondage
Self pity; he’s bound by loyalty to continue serving Othello whether he wants to or not.
crawling service
provender food and drink cashiered dismissed from service trimmed … duty pretending to be loyal
‘’Tis the curse of service’
‘I am not what I am.’
Iago
‘I follow him to serve my turn upon him.’
complement extern outward show
daws jackdaws
4
O A S
RODERIGO IAGO
RODERIGO IAGO
And I, of whom his eyes had seen the proof At Rhodes, at Cyprus, and on other grounds Christian and heathen, must be lee’d and calmed By debitor and creditor; this counter-caster, He, in good time, must his lieutenant be, And I, God bless the mark, his Moorship’s ancient. By heaven, I rather would have been his hangman. Why, there’s no remedy. ’Tis the curse of service; Preferment goes by letter and affection, Not by the old gradation, where each second Stood heir to the first. Now sir, be judge yourself Whether I in any just term am affined To love the Moor. I would not follow him then. O sir, content you. I follow him to serve my turn upon him. We cannot all be masters, nor all masters Cannot be truly followed. You shall mark Many a duteous and knee-crooking knave, That doting on his own obsequious bondage, Wears out his time much like his master’s ass For nought but provender, and when he’s old, cashiered. Whip me such honest knaves. Others there are Who, trimmed in forms and visages of duty, Keep yet their hearts attending on themselves, And throwing but shows of service on their lords, Do well thrive by them; and when they have lined their coats, Do themselves homage. These fellows have some soul, And such a one do I profess myself. For, sir, It is as sure as you are Roderigo, Were I the Moor, I would not be Iago; In following him, I follow but myself. Heaven is my judge, not I for love and duty, But seeming so for my peculiar end. For when my outward action doth demonstrate The native act and figure of my heart In complement extern, ’tis not long after But I will wear my heart upon my sleeve For daws to peck at. I am not what I am.
30
35
40
45
50
55
60
65
5
Iago suggests a way of taking revenge against Othello. They shout in the street outside Brabantio’s house, and tell him the news that he has been ‘robbed’.
Stagecraft
owe own
‘BRABANTIO [appears] above at a window’ (in pairs) Below is a photograph of Shakespeare’s Globe in London, which was built towards the end of the twentieth century as a replica of the theatre in which Shakespeare’s company worked in Elizabethan and Jacobean times. Notice that the theatre has a deep ‘thrust’ stage, with two exits at the back and a balcony above. r Talk together about how you would stage lines 68–93, first on the stage of Shakespeare’s Globe and then in a modern acting space (for example, in a drama studio). Think about the use of lighting and consider any props that seem appropriate. r As an extension to this activity, talk together about what you think might be the main challenges of directing a play on the stage at Shakespeare’s Globe.
timorous frightening or fearful
Zounds ‘by Christ’s wounds’ (a swear word) tupping mating or copulating with snorting snoring devil (in old church paintings, devils were commonly portrayed as black)
grandsire grandfather
6
O A S
RODERIGO IAGO
RODERIGO IAGO
RODERIGO IAGO
What a full fortune does the thick-lips owe, If he can carry it thus! Call up her father: Rouse him, make after him, poison his delight, Proclaim him in the street, incense her kinsmen, And though he in a fertile climate dwell, Plague him with flies: though that his joy be joy, Yet throw such chances of vexation on’t As it may lose some colour. Here is her father’s house; I’ll call aloud. Do, with like timorous accent and dire yell, As when, by night and negligence, the fire Is spied in populous cities. What ho, Brabantio! Signior Brabantio, ho! Awake! What ho, Brabantio! Thieves, thieves! Look to your house, your daughter, and your bags! Thieves, thieves!
70
75
80
brabantio [appears] above at a window. BRABANTIO RODERIGO IAGO BRABANTIO IAGO
What is the reason of this terrible summons? What is the matter there? Signior, is all your family within? Are your doors locked? Why, wherefore ask you this? Zounds, sir, you’re robbed; for shame, put on your gown; Your heart is burst; you have lost half your soul; Even now, now, very now, an old black ram Is tupping your white ewe. Arise, arise; Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you. Arise, I say!
85
90
7
Brabantio suspects that the two men are drunk. He learns Roderigo’s name, but not Iago’s. Iago tells Brabantio that Desdemona and Othello are having sexual intercourse and that his descendants will be mere animals.
Language in the play Verse and prose (in pairs) Brabantio and Roderigo speak in blank verse (a poetic style of writing that does not rhyme). Each line usually has five main beats or stresses. But when Iago interjects at line 109, the script switches to prose. Read the information about verse and prose in ‘The language of Othello’ on page 230, then suggest why Shakespeare has Iago speak in prose here. Consider: r the different social status of the three characters r what each of the men is saying r the context of the scene as a whole.
charged ordered
distempering draughts alcohol malicious bravery drunken behaviour
start disturb place position
1 Freeze the action (in threes) There are three men on stage when Brabantio asks the question ‘What profane wretch art thou?’ r Decide where each man is positioned at this point. Who is visible to whom? Then create a tableau (a freeze-frame) of this moment. Think carefully about facial expressions and ways of standing/crouching. Other groups should try to guess who is who in your frozen picture.
2 Who is Roderigo? When Roderigo introduces himself (line 96), Brabantio is not pleased to see him (‘The worser welcome’). He reminds Roderigo that on a previous occasion he ordered him to stay away from his house and his daughter (lines 97–9). r What might have happened in the past to cause this reaction from Brabantio? Carefully read lines 96–105 and prepare a short improvised drama in modern English, depicting the incident that led to Roderigo being banned from the house. ▲
What gestures might Brabantio use to express his displeasure?
8
grange country residence
Barbary horse North African breed of horse
coursers racehorses jennets small Spanish breed of horse
germans relatives profane foul-mouthed making … two backs having sexual intercourse
O A S
What, have you lost your wits? RODERIGO Most reverend signior, do you know my voice? BRABANTIO Not I; what are you? RODERIGO My name is Roderigo. BRABANTIO The worser welcome; I have charged thee not to haunt about my doors; In honest plainness thou hast heard me say My daughter is not for thee. And now in madness, Being full of supper and distempering draughts, Upon malicious bravery dost thou come To start my quiet. RODERIGO Sir, sir, sir – BRABANTIO But thou must needs be sure My spirit and my place have in them power To make this bitter to thee. RODERIGO Patience, good sir. BRABANTIO What tell’st thou me of robbing? This is Venice; My house is not a grange. RODERIGO Most grave Brabantio, In simple and pure soul I come to you. IAGO Zounds, sir; you are one of those that will not serve God if the devil bid you. Because we come to do you service and you think we are ruffians, you’ll have your daughter covered with a Barbary horse, you’ll have your nephews neigh to you, you’ll have coursers for cousins, and jennets for germans. BRABANTIO What profane wretch art thou? IAGO I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs. BRABANTIO Thou art a villain. IAGO You are a senator. BRABANTIO
95
100
105
110
115
9
Roderigo tells Brabantio that Desdemona has run away to live with Othello. Brabantio leaves to check if the story is true, saying he has already dreamt of such a thing happening.
1 ‘a gross revolt’ (in small groups)
answer be called to account for
Roderigo tells Brabantio that Desdemona has run away from home to get married without her father’s permission. Several of Shakespeare’s plays include young people rebelling against their parents’ wishes (most famously Romeo and Juliet). Generally speaking, in the comedies they are eventually forgiven, while in the tragedies the situation ends in disaster.
odd-even just after midnight dull watch late hour
r Talk together about stories you have read, and movies or television shows you have seen, that include a similar plot element. How is the family split resolved in those storylines?
lascivious lustful saucy insolent
2 The chain of being (by yourself ) In medieval England, people believed that God assigned all humans a specific place in society. This meant that people had to accept whatever social status they were born into; it also meant that young people were expected to obey their parents without question. By Shakespeare’s time, however, this belief was being challenged. r Carry out some research of your own into this ‘chain of being’. Write some notes about the way in which an Elizabethan audience might view Desdemona’s decision to run away and marry without her father’s knowledge. How might those views differ from modern perspectives on the issue?
Language in the play
stranger foreigner
Strike on the tinder make a light taper candle
Roderigo’s references (in pairs) In lines 119–39, Roderigo refers to Desdemona in positive terms (‘fair’), whereas he uses derogatory language to speak about Othello (‘gross clasps’, line 125). a List all the words or phrases Roderigo uses in the script opposite to refer to Desdemona and Othello. Write down what these words and phrases mean. b We have not yet met Desdemona or Othello. Talk together about the way the audience’s expectations are being shaped at this point. Record your ideas and then review them when you reach the end of Act 1.
10
gall hurt cast dismiss loud reason strong support from the Senate
O A S
BRABANTIO RODERIGO
BRABANTIO
IAGO
This thou shalt answer; I know thee, Roderigo. Sir, I will answer anything. But I beseech you If ’t be your pleasure and most wise consent (As partly I find it is) that your fair daughter, At this odd-even and dull watch o’the night, Transported with no worse nor better guard, But with a knave of common hire, a gondolier, To the gross clasps of a lascivious Moor: If this be known to you, and your allowance, We then have done you bold and saucy wrongs. But if you know not this, my manners tell me, We have your wrong rebuke. Do not believe That from the sense of all civility I thus would play and trifle with your reverence. Your daughter, if you have not given her leave, I say again, hath made a gross revolt, Tying her duty, beauty, wit, and fortunes In an extravagant and wheeling stranger Of here and everywhere. Straight satisfy yourself. If she be in her chamber or your house, Let loose on me the justice of the state For thus deluding you. Strike on the tinder, ho! Give me a taper; call up all my people. This accident is not unlike my dream; Belief of it oppresses me already. Light, I say, light! Farewell, for I must leave you. It seems not meet nor wholesome to my place To be produced, as if I stay I shall, Against the Moor. For I do know the state, However this may gall him with some check, Cannot with safety cast him; for he’s embarked With such loud reason to the Cyprus wars,
120
125
130
135
140
Exit
145
11
Iago slips away, not wishing to be identified as a trouble-maker. Brabantio discovers his daughter is indeed missing. He goes off with Roderigo to seek assistance from neighbours and the police.
Characters
fathom capability
‘the Moor’ (in small groups) Throughout the whole of this first scene no one has used Othello’s name, although all three men have referred to him several times. a Collect all the terms used to describe Othello in Scene 1. Copy the table below and add to it to record your findings. Decide what aspect of Othello is being highlighted in each instance – is it a complimentary term or an insulting one? In each case, note down what these descriptive terms tell you about the speaker. Term used
Aspect of Othello
‘the Moor’ (line 40)
His ethnicity or ‘race’
‘the thicklips’ (line 67)
His physical features (stereotype)
‘stranger’ (line 135)
He was not born in Venice
Spoken by?
Iago
What does it say about the speaker?
life livelihood, occupation flag outward appearance Sagittary (the name of an inn)
despisèd time time of great dishonour
He’s trying to take away Othello’s individuality. He is being racist and purposely insulting.
Roderigo
b When you have completed your table, compare your ideas with those of other groups.
charms spells, love potions property nature
Write about it Describing Othello r Using the information you gathered for the activity above, write a paragraph analysing the language by which Othello has been introduced during Scene 1. r Write a second paragraph, suggesting why a dramatist might want to delay the entrance of the main character until the audience has heard a significant amount about him from other characters in the play.
12
discover him reveal where he is
deserve your pains reward you for your trouble
O A S
Which even now stands in act, that, for their souls, Another of his fathom they have none To lead their business; in which regard, Though I do hate him as I do hell’s pains, Yet, for necessity of present life, I must show out a flag and sign of love, Which is indeed but sign. That you shall surely find him, Lead to the Sagittary the raisèd search, And there will I be with him. So farewell.
150
155
Exit
Enter Brabantio in his nightgown, and servants with torches. BRABANTIO
RODERIGO BRABANTIO
RODERIGO BRABANTIO
RODERIGO BRABANTIO
It is too true an evil. Gone she is, And what’s to come of my despisèd time Is nought but bitterness. Now Roderigo, Where didst thou see her? O unhappy girl! With the Moor, say’st thou? Who would be a father? How didst thou know ’twas she? O she deceives me Past thought! What said she to you? Get more tapers, Raise all my kindred. Are they married, think you? Truly I think they are. O heaven! How got she out? O treason of the blood! Fathers, from hence trust not your daughters’ minds By what you see them act. Is there not charms By which the property of youth and maidhood May be abused? Have you not read, Roderigo, Of some such thing? Yes, sir, I have indeed. Call up my brother. O that you had had her! Some one way, some another. Do you know Where we may apprehend her and the Moor? I think I can discover him, if you please To get good guard and go along with me. Pray you lead on. At every house I’ll call; I may command at most. Get weapons, ho! And raise some special officers of night: On, good Roderigo; I’ll deserve your pains.
160
165
170
175
180
Exeunt
13
Iago, pretending to be Othello’s faithful supporter, warns Othello that Brabantio will attempt to break up the marriage. Othello is confident that his service to Venice and his noble descent will make all well.
1 Iago’s version (in pairs) In lines 6–10, Iago tells of the conversation he had with Roderigo. r Talk together about how this version compares with what was actually said in the previous scene. You could draw up two columns on a sheet of paper. In the first column, write down the key items of information given here by Iago; in the second column record how it was presented in Scene 1.
stuff essence contrived premeditated I lack … service sometimes I’m
Write about it
too nice for my own good
Opinions of Othello (by yourself )
yerked stabbed
We have heard a lot about Othello from other characters. Now we meet him for the first time, in the second scene of the play. r Look closely at Othello’s lines 17–28. Think about what he says and the way he says it. Does your impression of Othello differ now from the opinion you had formed based on the words of Iago, Roderigo and Brabantio in Scene 1? Write a paragraph analysing the language of Othello’s first full speech in the play, and explaining what it suggests to you as a viewer or reader.
Stagecraft ‘Enter OTHELLO’ (in small groups) a If you were directing a production of the play, what effect would you want to create with Othello’s entrance? In Trevor Nunn’s 1990 Royal Shakespeare Company (RSC) production, the imposing figure of Othello (played by opera singer Willard White) was framed in a doorway illuminated by brilliant light. He was dressed in smart military uniform. In Janet Suzman’s 1987 Market Theatre of Johannesburg production, the physically slight figure of John Kani (playing Othello) was leaning against a wall, dressed in a flowing white shirt and brushing a rose against his lips. What impression do you think each of these directors was trying to make? b Create a tableau of the stage direction ‘Enter OTHELLO, IAGO and ATTENDANTS with torches’. Compare your ideas with other groups and talk about the effects of each tableau.
14
fast firmly, properly magnifico nobleman (Brabantio)
give him cable allow him signiory the Venetian government
provulgate make public siege rank demerits worth
unhousèd unrestrained circumscription restriction confine constraint For the sea’s worth for all the treasure in the sea