Tragedy & Othello, the Moor of Venice

Aristotle Characterized by seriousness and dignity Involving a great person who experiences a reversal of fortune Hamartia – “tragic flaw” and/or mistake Effects pity and fear within the spectators Results in catharsis (emotional cleansing) or healing for the audience Aristotle ( BC)

Hegel The conflict of two substantive, justifiable positions - tragic collision Each is wrong to the extent that it fails –to recognize the validity of the other position –or to grant it its “moment of truth” The conflict can be resolved only with the fall of the hero. The audience is to fear the ethical substance which, if violated, will turn against the hero Suffering for Hegel is not quite the undeserved suffering that for Aristotle elicits pity Georg Wilhelm Friedrich Hegel ( )

Nietzsche The art form of sensual acceptance of the terrors of reality and rejoicing in these terrors in love of fate “…not in order to be liberated from terror and pity, not in order to purge oneself of a dangerous affect by its vehement discharge, …but in order to celebrate oneself the eternal joy of becoming, beyond all terror and pity — that tragic joy included even joy in destruction." Friedrich Nietzsche ( )

Mel “Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die.” Mel Brooks ( )

Tragedy A serious play Deals with problems of main character Leads to an unhappy or disastrous ending In ancient drama tragic ending caused by fate or character flaw In modern drama caused by moral, psychological, or social problems Oedipus wrecked (429 BC)

Othello’s Tragedy No distracting subplots; very focused plot Classic struggle of good vs. evil No grand tragic heroes; characters of prominence but not kings, queens etc. Centered on realistic human emotions of love, hate, and especially JEALOUSY, “the green-ey’d monster” Michael “Mike” Wazowski (2001- )

History Composed in 1601 First produced in 1604 Comes late in Shakespeare’s career Othello first played by Richard Burbage The first woman to act on stage in late 1600’s played the role of Desdemona Source of play was an Italian short story – “Un Capitano Moro,” by Cinthio (1565) Richard Burbage ( )

Racial controversy Ambiguity of word “black” Known as “the Moor” – Elizabethan term for any dark-skinned person Typically portrayed as Sub- Saharan African, but Shakespeare might have meant North African Arab While Elizabethans generally regarded Africans as savages… Moorish Ambassador to Elizabeth I (1600)

Racial controversy Shakespeare was the first to raise a black man “to the rank of a literary personage” The black man became flesh and blood for the first time Othello’s dark skin certainly provides fuel for his enemies –“…even now, an old black ram is topping your white ewe." BUT, racism is probably more an issue for today’s audience than Shakespeare’s The Elizabethans regarded anybody who wasn’t English as a lower life form Laurence Olivier as Othello (1965)

Setting Late 16 th century during wars between Venice and Turkey Act I: Venice, Italy Acts II-V: Cyprus Othello’s Castle, Cyprus Venice, Italy

Chief characters Othello, the Moor a soldier of fortune, a hero from a foreign country Desdemona fair, loving, trusting, and very unfortunate Iago One of Shakespeare’s most malicious villains Othello (1995)

Other characters Emilia, Iago's wife and Desdemona's maidservant Cassio, Othello's lieutenant Bianca, Cassio's lover Brabantio, a Venetian senator, Gratiano's brother, and Desdemona's father Roderigo, a dissolute Venetian, in love with Desdemona Duke of Venice, or the "Doge“ Gratiano, Brabantio's brother Lodovico, Brabantio's kinsman and Desdemona's cousin Montano, Othello's Venetian predecessor in the government of Cyprus Clown, a servant Officers, Gentlemen, Messenger, Herald, Sailor, Attendants, etc. Musicians