Professional Documents
Culture Documents
Othello Critics
Othello Critics
Significant Productions Level 6-8 Clear relevant exploration Offers clear understanding
3 of different interpretations and alternative readings
1604 production Richard Burbage played the title role in blackface of texts. Explores different interpretations in support
or contrast to own argument.
1660 production After the Restoration and the re-opening of the theatres, Margaret Hughes became the first
recorded woman to perform on the English stage, when she played Desdemona on 8 Level 9-11 Discriminating exploration Produces a developed
December 1660. 4 exploration of different interpretations and
alternative readings of texts. Discussion is controlled
1830 production Ira Aldridge is the first black actor to play Othello, touring Europe to great acclaim. and offers integrated exploration of different
interpretations in development of own critical
position.
Film, 1965, dir. Stuart Burge Laurence Olivier controversially plays Othello in blackface.
National Theatre, 2013, dir. Production set in a contemporary military camp, starring Adrian Lester as Othello and Rory Level 12-14 Critical and evaluative Applies a sustained evaluation
Nicholas Hytner Kinnear as Iago. 5 of different interpretations and alternative readings
of texts. This is supported by sophisticated use of
RSC, 2015, dir. Iqbal Khan The first RSC production to cast a black actor, Lucian Msamati, as Iago (the version we application of alternative interpretations to illuminate
watched in class). own critical position.
Shakespeare deliberately Freudian: Iago has Desdemona is a Othello’s language changes Iago is driven by
raised Othello to the latent homosexual “fool” for marrying a from noble, poetic free verse to “motiveless malignity”.
highest standard of desires which drive “blackamoor”. This is erratic, clipped, repetitive prose It is unrealistic for a
nobility in order to his obsession with a cautionary tale to represent his descent into woman like Desdemona
emphasise the publicity Othello’s against marrying madness. Iago “hates the to fall in love with “a
and the symbolic relationship with against your parents’ romance of Othello and the veritable negro”. Othello
universality of his fall. Desdemona. Love wishes. Iago is too loveliness of Desdemona puts Desdemona on a
“Othello is the greatest and hate are always evil to be believed. because he is by nature the pedestal and cannot
poet of them all”. Othello closely interrelated. The play is a “bloody enemy of these things. He is cope with the notion
is a victim of Iago’s farce”. cynicism loathing beauty, that she is less than
“irresistible force”. refusing to allow its existence… perfect.
Martin Iago is cynicism incarnate.”
Thomas
A.C. Bradley Wangh George Wilson Samuel Taylor-
Rymer
Iago is a ‘practical
Iago is clever, but his Knight Coleridge
joker of a peculiarly
appalling kind’. failure to
The play is true to life We must question the impact of
comprehend the “Othello is a black
and skillfully
presents human W.H. Auden power of love - in this play on English attitudes
towards foreigners. Would they
General in a white
particular Emilia’s army… he has created
nature. The see Venice as a model society,
love for Desdemona - for himself a personality
audience hates Iago Othello is always acting - or would the audience see
is his downfall. that they can accept”.
from the first to the he begins and ends the Othello’s tragedy as a “Othello is a victim of
last scene of the play. play acting a part. He E.A.J. cautionary tale against giving Imperialism”.
thrives on “histrionics” foreigners positions of power?
throughout. Honigmann
Samuel Germaine
Johnson F.R. Leavis Ania Loomba Greer