Othello and Interpretive TraditionsUniversity of Iowa Press, 1. 2. 2012 - Počet stran: 228 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. |
Vyhledávání v knize
Výsledky 1-5 z 59
Strana 4
... actors , theatrical audiences , and students ( constituencies we may ignore at some risk ) , but many academic critics have tended to back away from it . By isolating the protagonist from the dramatic action and seeking to understand ...
... actors , theatrical audiences , and students ( constituencies we may ignore at some risk ) , but many academic critics have tended to back away from it . By isolating the protagonist from the dramatic action and seeking to understand ...
Strana 6
... ( Sprague , Shakespeare and the Actors , 185 ) . But although the play has held the stage , exciting great theatrical interest , without a significant hiatus from its own time to ours { 6 } Othello and Interpretive Traditions.
... ( Sprague , Shakespeare and the Actors , 185 ) . But although the play has held the stage , exciting great theatrical interest , without a significant hiatus from its own time to ours { 6 } Othello and Interpretive Traditions.
Strana 7
... actors in assorted theatrical settings , transformed over time by a variety of technical innovations in lighting , costuming , and scene design , and sometimes by technical regressions or restorations ( Poel , the new Globe ) as well ...
... actors in assorted theatrical settings , transformed over time by a variety of technical innovations in lighting , costuming , and scene design , and sometimes by technical regressions or restorations ( Poel , the new Globe ) as well ...
Strana 11
... acting certain things , they moved ( the audience ) to tears . But truly the celebrated Desdemona , slain in our presence by her husband , al- though she pleaded her case very effectively throughout , yet moved ( us ) more after she was ...
... acting certain things , they moved ( the audience ) to tears . But truly the celebrated Desdemona , slain in our presence by her husband , al- though she pleaded her case very effectively throughout , yet moved ( us ) more after she was ...
Strana 12
... actor who was playing Othello . " It is as though this " overly tragic " play does not allow for the distance we normally associate with dramatic representation . There are many anecdotes to suggest that the actors themselves have been ...
... actor who was playing Othello . " It is as though this " overly tragic " play does not allow for the distance we normally associate with dramatic representation . There are many anecdotes to suggest that the actors themselves have been ...
Obsah
1 | |
11 | |
30 | |
lago | 53 |
The Fall of Othello | 79 |
The Pity Act | 113 |
Death without Transfiguration | 141 |
Interpretation as Contamination | 169 |
Character Endures | 183 |
Notes | 193 |
Works Cited | 231 |
Index | 247 |
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acknowledge Actors anxiety argument audience Bamber Gascoigne beginning belief Bianca Bob Hoskins Booth Brabantio Bradley Bradley's 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 feel gender Hamlet Hankey Honigmann Iago Iago's idea identity interest interpretive traditions King Lear lago Lear Leavis literary Macready marriage meaning Michael Neill mind 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 Ridley's Roderigo role Rymer says seems sense sexual Shakespeare Shakespearean Tragedy soliloquy speak speech Sprague stage suggests sustained Temptation Scene textual theater theatrical thing thou tion tragic Tynan Venetian villain whore women words