Othello and Interpretive TraditionsUniversity of Iowa Press, 1. 8. 1999 - Počet stran: 272 During the past twenty years or so, Othello has become the Shakespearean tragedy that speaks most powerfully to our contemporary concerns. Focusing on race and gender (and on class, ethnicity, sexuality, and nationality), the play talks about what audiences want to talk about. Yet at the same time, as refracted through Iago, it forces us to hear what we do not want to hear; like the characters in the play, we become trapped in our own prejudicial malice and guilt. |
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Strana 26
... actors . Such a double competitive potential seems to have been part of Othello's stage history for as far back as we can see . Carol Carlisle quotes the actor Samuel Foote's remark about Othello in 1747 " that he could recall no other ...
... actors . Such a double competitive potential seems to have been part of Othello's stage history for as far back as we can see . Carol Carlisle quotes the actor Samuel Foote's remark about Othello in 1747 " that he could recall no other ...
Strana 99
... Actors , 200 ) . Even without such telegraphing , the central idea of Desdemona's displacement by Iago is bound to be present to any audience of the scene , where it will be reinforced by the physical enactment . Consider the ...
... Actors , 200 ) . Even without such telegraphing , the central idea of Desdemona's displacement by Iago is bound to be present to any audience of the scene , where it will be reinforced by the physical enactment . Consider the ...
Strana 188
... acting companies the actors relied on conventional expressions of emotions . But Shakespeare gave his actors too rich a variety of emotions of too fine a subtlety to permit them to rely upon a stock rendition of outworn conventions ...
... acting companies the actors relied on conventional expressions of emotions . But Shakespeare gave his actors too rich a variety of emotions of too fine a subtlety to permit them to rely upon a stock rendition of outworn conventions ...
Obsah
Introduction Othello and Interpretive Traditions | 1 |
Othello in Theatrical and Critical History | 11 |
Disconfirmation | 30 |
Autorská práva | |
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acknowledge Actors anxiety audience Bamber Gascoigne beginning belief Bianca Bob Hoskins Booth Brabantio Bradley Bradley's Cambridge University Press Carlisle Cassio century character claim Coleridge Coleridge's commentary contemporary context critical cultural Cyprus demona Desdemona desire devil earlier echoes Edwin Booth effect Emilia emphasis Empson essay evoke Fechter feel gender Hamlet Hankey Honigmann Iago Iago's idea identity imagination interest interpretive traditions King Lear lago Lear Leavis literary London marriage meaning Michael Neill modern Moor murder nature Neill Newman nineteenth nineteenth-century nonetheless norms original Othello Othello and Desdemona passage Patrick Stewart performance perhaps pharmakos play play's production protagonist question quoted racial Ralph Crane remarks Renaissance response Ridley Roderigo role Rymer says seems sense sexual Shakespeare Shakespearean Tragedy soliloquy speak speech Sprague stage suggests Temptation Scene textual Theatre theatrical thing tion tragic Tynan Venetian villain whore women words York