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
... production , he argues Othello is unique in that it divides the central space of its action equally between protagonist and antagonist . This design has made strenuous demands on theatrical productions ; the stage history of the play ...
... production , he argues Othello is unique in that it divides the central space of its action equally between protagonist and antagonist . This design has made strenuous demands on theatrical productions ; the stage history of the play ...
Strana ix
... 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
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Obsah
Othello in Theatrical and Critical History | 11 |
Disconfinuation | 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 |
247 | |
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