Directed by Sam Gold, this production is decidedly stripped down and modern, set in army barracks designed by Andrew Lieberman, with the audience seated on either side in bleachers. Laptops and smart phones adorn the performance space, which is lit by Jane Cox with a collision of coldly institutional devices that include overhead fluorescence, hand-held flashlights and helmet-mounted LEDs, after the first scene, which is staged in complete darkness and during which Iago, who is played by Daniel Craigdiscusses his hatred of the Othello, played by David Oyelowo. Unable to believe his daughter would wed a man of color, Brabantio accuses Othello of using spells and potions to bewitch his daughter until she calmly informs him of the truth.
A feminist analysis of the play Othello allows us to judge the different social values and status of women in the Elizabethan society. Othello serves as an example to demonstrate the expectations of the Elizabethan patriarchal society, the practice of privileges in patriarchal marriages, and the suppression and restriction of femininity.
According to Elizabethan or Shakespeare's society built upon Renaissance beliefs, women were meant only to marry. As their single occupation, marriage held massive responsibilities of house management and child rearing.
Additionally, women were expected to be silent, chaste, and obedient to their husbands, fathers, brothers, and all men in general. Patriarchal rule justified women's subordination as the natural order because women were thought to be physiologically and psychologically inferior to men.
As we go through Othello we find that the women characters are presented according to this expectation of the Elizabethan society. Desdemona, Emilia and Bianca. These notes will explore some of the ways in which the female characters are presented in the play.
This is, however, by no means peculiar to Othello: It could be argued, however, that Iago exhibits little love for his wife, insulting her in public and ultimately killing her himself. Compounding this theory is the fact that Iago refers to his wife metaphorically in these two instances: By sleeping with Desdemona, he believes that they will then be equal.
The feelings of Desdemona and Emilia are completely disregarded in his plotting. The women are merely objects to be used in order to further his own desires. Although Iago is an extreme example, he nonetheless demonstrates, through his thinking, the fact that women, in both Elizabethan and Venetian society, are perceived as possessions, secondary to the lofty plans and desires of men.
Women as submissive Some modern feminist critics see Desdemona as a hideous embodiment of the downtrodden woman. Whether this is actually the case will be explored later in these notes. Suffice it to say, there is a large body of evidence to support this critical stance.
She appears to have completely accepted her role as subordinate and obedientwife.
Although going on to betray her husband, she still feels the need to explain why she is deviating from accepted behaviours.
Society weighs heavily on the shoulders of these women; they feel that they must support the men and defer to them, even if the actions of the men are questionable. By expressing these qualities of women in the masculine domain of the Venetian senate,Brabantio compounds and develops the traditional expectations of women in a patriarchal society.
Venetian society presents its own social beliefs as immutable laws of nature. The women of Othello, however, are pre-Feminism, and seem to only compound the ideological expectations of what it is to be a woman through their own behaviour.
Women can be powerful This is not to say, however, that the women of the play fail to question men at all. The only difference, Emilia implies, is that men are mentally weaker: Emilia suggests that men are brutish and simplistic, unable to control their desires with logical thought.the play.
The relationship between these characters is another unusual feature of The first probable performance of Othello was in and and continued to be In the next scene, Othello leaves to celebrate his nuptials with Desdemona. After. - The Character of Iago in Othello In the play Othello, the character Iago plays a paramount role in the destruction of Othello and all of those around him.
Some critics state that Iago's actions are motiveless and that he is a purely evil character. In this first scene, Iago has foreshadowed the great deceptions that he will engineer. Already, the racial issues and themes at the core of Othello are beginning to surface.
When Roderigo refers to Othello, he calls him "the thicklips", using a synecdoche that highlights only Othello's foreignness and belies Roderigo's distrust of Othello based solely on his color (I.i). LitCharts assigns a color and icon to each theme in Othello, which you can use to track the themes throughout the work.
Iago refers to jealousy as the "green-eyed monster." As this metaphor suggests, jealousy is closely associated with the theme of appearance and reality. The first scene is fast and furious.
Roderigo cripples long before he goes to work on Othello in the play’s second half.
In the figure of Iago, Shakespeare comes close more vulnerable to manipulation than we like to think, Shakespeare suggests, because our sense of. Iago later uses Desdemona against Othello in the play. He does this because he is jealous of Othello who became promoted to the job he feels he should have got.
To complete this plot of his, he speaks many lies and proceeds in many incidents to convince Othello that Desdemona is being disloyal to him by having an affair with another man-Cassio.