Othello: A Contextual HistoryCambridge University Press, 05.12.1996 - 243 Seiten Shakespeare's Othello has exercised a powerful fascination over audiences for centuries with its intense portrayal of passionate love and destructive jealousy. This study is a major exercise in the historicization of Othello. Initially the author examines the early Jacobean context of the play, and the discourses which formed its writing. Circulating simultaneously in late Renaissance London were accounts of Mediterranean clashes between Turks and Venetians, treatises on the professionalization of England's military forces, depictions of North Africans and blackamoors, and narratives of jealous husbands who murdered their wives. In the centuries after 1604, productions of Othello stressed the contextual discourse that best reflected current cultural concerns. The first section examines these four sets of contemporary writings and demonstrates how they were embedded in the text of Othello. The following chapters trace Othello's history on stage or in film in England and the United States from the Restoration to the late 1980s. Each chapter highlights particular productions or performers to demonstrate how and why elements from Shakespeare's text were emphasized or repressed. In the Restoration, for example, Othello was a gentleman and an officer, his characterization shaped by actors who had served in King Charles' army. During the Victorian period, in contrast, the Moor's private role of devoted husband was privileged over his occupation. When Paul Robeson performed Othello in 1930 and 1943-44, race was highlighted as the play's central issue. Othello is thus revealed as a significant shaper and major reflector of cultural meanings, as it participated in a complex negotiation betweenactors, critics, audiences, and the culture at large. |
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... York , NY 10011-4211 , USA 10 Stamford Road , Oakleigh , Melbourne 3166 , Australia © Cambridge University Press 1994 This book is in copyright . Subject to statutory exception and to the provisions of relevant collective licensing ...
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Inhalt
Introduction | 1 |
JACOBEAN CONTEXTS | 11 |
Global discourse Venetians and Turks | 13 |
Military discourse knights and mercenaries | 35 |
Racial discourse black and white | 51 |
Marital discourse husbands and wives | 71 |
REPRESENTATIONS | 91 |
Othello in Restoration England | 93 |
William Charles Macready and the domestic Othello | 135 |
Salvini Irving and the dissociation of intellect | 158 |
The Ethiopian Moor Paul Robesons Othello | 181 |
Orson Welles and the patriarchal eye | 199 |
Othello for the 1990s Trevor Nunns 1989 Royal Shakespeare Company production | 217 |
Conclusion | 233 |
238 | |
Amateur versus professional the Delaval Othello | 113 |
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Häufige Begriffe und Wortgruppen
acting actor African appeared argued audience audience's body Brabantio Captain Cassio cast century chapter character civilization color conception costumes Covent Garden critics culture Cyprus Delaval described Desdemona discourse Drama Duberman Elizabethan Emilia England English Ensign example film Folger Shakespeare Library Garrick gaze hair Hankey Helena Faucit Henry Irving hero History husband Iago Iago's Ibid Irving's James jealous jealousy John Knolles Leo Africanus London Macklin MacLiammoir Macready Macready's male Mariam marriage masculine Memoirs military mind Moor murder Negro noble Nunn Nunn's officer Orson Othello passion patriarchal Paul Robeson performance play's production promptbook quote race racial Renaissance Restoration Richard Knolles Roderigo role Royal Shakespeare Company Salvini Senate sexual Shakespeare's Othello Shakespeare's text Sir Francis soldiers speech stage temptation scene Theatre theatrical Thomas Tommaso Salvini tragedy treatises Turk Turkish University Press Venetian Venice Victorian villain Warre Welles's wife William Charles William Charles Macready woman women words York
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