Orthello

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The play’s protagonist and hero. A Christian Moor and general of the armies of Venice, Othello is an eloquent and physically powerful figure, respected by all those around him. In spite of his elevated status, he is nevertheless easy prey to insecurities because of his age, his life as a soldier, and his race. He possesses a “free and open nature,” which his ensign Iago uses to twist his love for his wife, Desdemona, into a powerful and destructive jealousy.

Gay, Penny "Women and Shakespearean Performance" in Wells, Stanley and Stanton, Sarah (eds.) "The Cambridge Companion to Shakespeare on Stage" Cambridge University Press, 2002, pp.155–173, at p.157. These led Samuel Taylor Coleridge to refer to Iago's "motive-hunting of motive-less Malignity". [158]Brigitte Tast, Hans-Jürgen Tast: Orson Welles - Othello - Mogador. Aufenthalte in Essaouira, Kulleraugen Vis.Komm. Nr. 42, Schellerten 2013, ISBN 978-3-88842-042-9

Welles was reportedly extremely satisfied with the film's musical score by Angelo Francesco Lavagnino, and Lavagnino again provided the musical scores of Welles' two subsequent Shakespearean films, Chimes at Midnight (1965) and The Merchant of Venice (1969). Maguire, Laurie " Othello, Theatre Boundaries, and Audience Cognition" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.17-43 at p.34. Hasegawa, Goro (December 2005). The Tale of One Hundreds of Othello - Famous players who decorated the history of Othello (in Japanese). Kawade Shobō Shinsha. ISBN 9784309906553. Siemon, James "Making Ambition Virtue" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.177-202 at p.178 and p.198n.

Scene-by-scene

Gary Taylor in 1983 agreed with Coghill that F incorporated the author's own improvements to Q, but argued that another scribal hand had also made intervening changes to F. [56] Austern, Linda Phyllis "The Music in the Play" in Neil, Michael (ed.) and Shakespeare, William "Othello" The Oxford Shakespeare, Oxford University Press, 2006 pp.445-454 at p.445. Good Othello computer programs play very strongly against human opponents. This is mostly due to difficulties in human look-ahead peculiar to Othello: The interchangeability of the disks and therefore apparent strategic meaninglessness (as opposed to chess pieces for example) makes an evaluation of different moves much harder. This can be demonstrated with blindfold games, as the memorization of the board demands much more dedication from the players than in blindfold chess.

Hasegawa established the Japan Othello Association in March 1973, and held the first national Othello championship on 4 April 1973 in Japan. [9] The Japanese game company Tsukuda Original launched Othello in late April 1973 in Japan under Hasegawa's license, which led to an immediate commercial success. [10] [11] [12] [13] [14]

Gillies, John; Minami, Ryuta; Li, Ruru and Trivedi, Poonam "Shakespeare on the Stages of Asia" in Wells, Stanley and Stanton, Sarah (eds.) "The Cambridge Companion to Shakespeare on Stage", Cambridge University Press, 2002, pp.259-283 at pp.260-261. Games magazine included Othello in their "Top 100 Games of 1980", noting that it was "Based on the Victorian game of reversi" and had achieved "remarkable success in this country for an abstract game of strategy". [27]

Not only Othello, but also Iago is consumed by jealousy: his is a kind of envy, which contemporary scholar Francis Bacon called "the vilest affection, and the most depraved; for which cause, it is the proper attribute of the Devil... As it always cometh to pass, that envy worketh subtilly, and in the dark; and to the prejudice of good things." [64] After the Restoration, London Theatres other than the patent companies got around the illegality of performing Shakespeare by allusion and parody, such as Charles Westmacott's Othello The Moor of Fleet Street at the Adelphi in 1833. [293]Meanwhile, Othello stands over his sleeping wife in their bedchamber, preparing to kill her. Desdemona wakes and attempts to plead with Othello. She asserts her innocence, but Othello smothers her. Emilia enters with the news that Roderigo is dead. Othello asks if Cassio is dead too and is mortified when Emilia says he is not. After crying out that she has been murdered, Desdemona changes her story before she dies, claiming that she has committed suicide. Emilia asks Othello what happened, and Othello tells her that he has killed Desdemona for her infidelity, which Iago brought to his attention. The Tragedy of Othello: The Moor of Venice (Othello) (1955)". Rotten Tomatoes. Fandango Media . Retrieved 16 May 2015. W. W. Greg in 1955 argued that Q's copy must have been a difficult-to-read transcript of Shakespeare's " foul papers" (i.e. first drafts). [53]