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. |
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Strana
... production . As I see Othello , its effects develop out of the peculiar way it shares out the central space of its action - and fractures its at- tractive power equally between the protagonist and the antagonist . This design has made ...
... production . As I see Othello , its effects develop out of the peculiar way it shares out the central space of its action - and fractures its at- tractive power equally between the protagonist and the antagonist . This design has made ...
Strana 7
... production . " Performance history , then , might ( and often does ) dissolve into a miscellany of greatly memorable realizations , momentous but also momentary as a sound . Anyone with only a rudimentary knowledge of theater history ...
... production . " Performance history , then , might ( and often does ) dissolve into a miscellany of greatly memorable realizations , momentous but also momentary as a sound . Anyone with only a rudimentary knowledge of theater history ...
Strana 8
... produce but are rather produced by the play . In this case , we would now find ourselves asking how the play produces the interpretations , and perhaps even why . What are the dramatic strategies by which Othello has managed to achieve ...
... produce but are rather produced by the play . In this case , we would now find ourselves asking how the play produces the interpretations , and perhaps even why . What are the dramatic strategies by which Othello has managed to achieve ...
Strana 13
... productions of " the Scottish play " simply ignore the many Macbeths that went off without a hitch ) , and some of them ... production , but something to do with the play , surely , as well . Even with all allowances made for skepticism ...
... productions of " the Scottish play " simply ignore the many Macbeths that went off without a hitch ) , and some of them ... production , but something to do with the play , surely , as well . Even with all allowances made for skepticism ...
Strana 15
... production , as Jona- than Miller found out when he produced the play in 1981 for the BBC . Deliberately downplaying the issue and casting Anthony Hopkins as though Othello were " a Hashemite warrior , drilled in Othello in Theatrical ...
... production , as Jona- than Miller found out when he produced the play in 1981 for the BBC . Deliberately downplaying the issue and casting Anthony Hopkins as though Othello were " a Hashemite warrior , drilled in Othello in Theatrical ...
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