
Lesson:
• Three acting companies be performed.
• Great Minds Paper Collected (Churchill)
Dramaturgy Report
• Ira Aldridge (Churchill)
• Recent Productions
We talked about how the handkerchief has been passed and acted it out
Gender Issues: Round One (If absent, answer these questions on your own:
Names:____________________
Discuss the “ocular proof” of Desdemona’s infidelity.
In what ways does her encounter with Othello in this scene distress Desdemona?
What different ways might an actor play this distress?
What explanations does she provide to account for his changed behavior?
Why does she feel she must make excuses for him?
Comment on:
• “They are but stomachs, and we all but food; / They eat us hungerly, and when they are full / They belch us”
Do you agree with Emilia?
DO you find her too bitter? Too hard?
What effect does Othello’s fit have on the audience?
How is Iago able to make Othello believe that Cassio is speaking of Desdemona? What would you emphasize as a director?
How, in this scene, does Shakespeare remind us of how far we are from Venice and how much Othello has changed?
Can you find examples of how Othello’s once noble and lofty language is sinking to Iago’s bestial level? Think back to your handout on Iago’s bestiary. Does Othello use the same kind of imagery? Can you find lines in Act 1 and 2 that show Othello’s noble language and analyze the difference?
In 4.1, an important man whom we have never seen hurt his wife before now strikes her in public. Why does he do it? How do the people onstage react? How do you imagine Desdemona responding physically to the blow?
Desdemona is innocent; why doesn’t she defend herself? If you were in Desdemona’s position, would you? If not, why not?
How could this scene be considered part of the great tragedy of Othello?
Homework
• Read 4.2 and 4.3. Complete log entry from the text.
• Quiz next class.
• Volunteers to act next class (possibly sing? And be exempt from the log entry)
• Meeting of the Great Minds-