Othello: A Study Guide for Students, Exams of Rhetoric

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OTHELLO

1 - THE SETUP

What kind of relationship do Iago and Roderigo have?

ACTIVITY

Watch the excerpt of Act 1 Scene 1 being performed by RSC actors on stage here. As you watch, write down any words that stand out or that you find interesting. These might not be words that you understand in context just yet. Based on the words you wrote down, complete the following sentence: “I think Othello will be a play about….” Now visit this page on the RSC Learning Zone. Click ‘Read the Scene and Explore.’ You can click on the highlighted text to familiarise yourself further. Rea d the whole scene from Line 1 to Line 82 (Brabantio’s entrance). Ask yourself: what is the re- lationship like between Roderigo and Iago? Who has control, or the upper hand? Does one character lead, and the other follow? Does this ever change? Think about why this might be. Shakespeare opens the play without the title character Othello; instead, we hear him being talked about by Iago and Roderigo. Why has the playwright chosen to do this? Think again on the sentence “I think Othello will be a play about…”. Has your definition changed?

EXTENSION

The scene begins with Iago and Roderigo in mid-conversation. Speculate what Iago may have said to Roderigo for him to reply ‘Tush, never tell me! …’ Write the conversation that went before in your own words.

WHAT YOU NEED

A piece of note paper, or a notebook and something to write with. A computer with internet connection, ready to visit this page and watch this clip. A copy of Act 1 Scene 1, to read either on the page or onscreen.

3 - THE CHARACTERS

Who are the main protagonists of this story?

ACTIVITY

Take a landscape piece of paper, and divide the page into 5 columns. At the top of each column write the following characters: Othello, Desdemona, Iago, Emilia, Cassio. Underneath give each character a one-line summary (from the point at which we first meet them): i.e. Othello: a Vene- tian General, recently married Desdemona in secret. Go to the Character page on the RSC Learning Zone here. Click ‘ Test Yourself ’ and play the game of Who’s Who. For each of your five characters, think about what they want the most at the moment when we first meet them in the play. Write in the form ‘Iago wants…’ It can be as simple as ‘Iago wants a promotion.’ Actors sometimes use this exercise to explore the emotional journey their character goes through in the course of the play. Ask yourself: Does each character ever get what they want? How do their wants clash with the wants of other characters? Do the same activity but this time for a moment in Act 5. What are the wants of your five charac- ters now? Write them at the bottom of the column. Think about the journey of the characters - where do they begin and where do they end up? The actions of which characters affect the others most?

EXTENSION

Fill in the middle sections of the columns by ‘mapping’ the character’s wants a s the story pro- gresses. Maybe choose 2 or 3 pivotal moments between Act 1 and Act 5 for each character and write what you believe their greatest wants to be at these pivotal points. Keep the sentences sim- ple. Give each of the five characters another one-line summary, this time describing them at the end of the play. Notice any emotive adjectives or descriptions that you use when describing them i.e. Desdemona: a wronged wife, cruelly murdered. Why did you choose these words? Write a speech justifying these one-line summaries. Members of an audience may all respond differently to the story and the actions of the characters based on their own experiences. Pretend

WHAT YOU NEED

A piece of paper, landscape (minimum size A4) or a large notebook and something to write with. A computer with internet connection, ready to visit this page.

now it is your job to convince the whole audience at the end of the play. Are your statements based on fact, or opinion? Do the exercise again, this time pretending you are the character presenting themselves. Do the summaries change when speaking in the first person? Which characters are better ‘convincers’? What are the character’s own impressions of themselves?

5 - THE WORLDS OF THE PLAY (PART 1)

Why does Shakespeare set Othello in Venice and

Cyprus?

ACTIVITY

Take a piece of paper, landscape. Near the left hand edge write Venice, and near the right hand edge Cyprus. Draw a line down the middle to divide the two worlds. Shakespeare sets most of the play in Cyprus: a fortified military outpost on the edge of Christian territory. Venice is a republic controlled by the wealthy merchant classes; a place where capital- ism thrives. Choose five adjectives that describe these worlds. How different are they? The words could be describing what you might expect the location to feel like. Do these words match with the action of the play? Take the five characters Othello, Iago, Desdemona, Cassio and Emilia. From your descriptions of the two worlds, think about where they most ‘feel at home’. W rite their name somewhere that feels logical on the paper. The position of their name might be definitely ‘in Venice’, but it also might be close to the adjective ‘civilised’ for instance. On a new page, develop these thoughts by finishing the sentence ‘Othello feels most at home when…’ Do the same for the remaining four characters. Evaluate your five statements in light of what you know happens in the play. Answer the question: To what extent does setting the play in a Cypriot outpost contribute to its tragic events?

EXTENSION

Think about times where you have felt ‘out of your comfort zone.’ Speculate the one place or sit- uation where you might feel the most out of your comfort zone. Turn your thoughts to our five characters and write down the place or situation you think they would feel the most out of their comfort zone. Think again about our initial question for this activity: ‘Why does Shakespeare set Othello in Ven- ice and Cyprus?’ To what extent does the setting serve or hinder the characters and does the set- ting have a significant effect both on the actions of these characters?

WHAT YOU NEED

A piece of note paper, or a notebook and something to write with.

6 - THE WORLDS OF THE PLAY (PART 2)

How have previous directors staged Othello?

ACTIVITY

Load the ‘Setting’ page on the Shakespeare Learning Zone, here. Take a look at the gallery and notice the various interpretations of Venice and Cyprus in past productions of Othello. Directors and designers work together to come up with a concept of how they want the set to look and feel. Some Directors base their interpretations of Venice and Cyprus on places we don’t know in the real world today. If you have completed ‘The Worlds of The Play Part 1’ find the adjecti ves you came up with to describe the two worlds. You now have the task of designing the sets. Begin to think about how these two contrasting worlds may look. Create a ‘mood board’ for Venice and Cyprus, either digitally or as a collage using your own drawings or old newspapers and magazines. A mood board can help a designer to think about the overall impression they want the audience to have of a place. This can be a collection of col- ours, textures, fabrics, styles of clothing, buildings, art work and anything else that you see which inspires you. In your mood board, try to label the things you add to help you remember your thought process.

EXTENSION

Load this page on ‘Staging Othello’ in the Shakespeare Learning Zone. Go through the ‘Key decisions to make’ tab and read all the questions under the subcategories : ‘Military’, ‘Race and Belonging’, and ‘Gender’. Do further research into past productions of Othello : find images or reviews to discover that director’s interpretation. Begin to answer the questions on the page yourself, basing your decisions on the mood board you have just created.

WHAT YOU NEED

A piece of note paper, or a notebook and something to write with. A computer with internet connection, ready to visit the following pages on Setting and Pro- ductions. (Optional: access to an online pinboard e.g. Pinterest or an offline app). (Optional: A large sheet, and materials to create a Mood board).

As Brabantio, write a letter to Desdemona outlining what you have heard and how you feel about this. Allow the emotion to be reflected in the writing style too, thinking about what we noticed from the exercise above. Write another letter, this time to Othello. How is the tone and language different? Evaluate the reasons why Othello and Desdemona felt they needed to keep the marriage secret.

8 - O THELLO’S STORY

How does Othello use words to convince the court?

ACTIVITY

Read aloud Othello’s speech beginning ‘Most grave potent signiors’ (Act 1 Scene 3, ~Line 76). Write down on a separate piece of paper any words or phrases that stand out to you. These could be those you don’t understand. Write your answer to the question: ‘What is Othello’s main aim?’ Go back to the speech and underline or highlight any part of the text where you think Othello is succeeding at ‘winning round’ his audience. This could be the use of a particular word, or a tac- tic he employs (e.g. flattery). Do you think his language is successful? Research the term ‘Rhetoric’ - or watch this short video of RSC Artistic Director Gregory Doran explaining what rhetoric is. Using highlighters, go back to the speech and pick out any examples of rhetoric in action. Notice if certain moments match with your underlined text from the exercise above. Othello is the tragic hero in our play. Having read the whole of this scene, now analyse what your opinion of the character is now. Has your opinion changed? Find 2-3 quotes that are perfect examples of Othello in this scene.

EXTENSION

Read Othello’s speech ‘Her father lov’d me, oft invited me’. (~Line 128) Track Othello’s story beat - by-beat, up to this point, and then re-write the story from Desde- mona’s point of view. How do their journeys and reactions to events differ?

WHAT YOU NEED

A piece of note paper, or a notebook and something to write with. A computer with internet connection with the following clips loaded: to be added A copy of Act 1 Scene 3, to read either on the page or onscreen.

10 – I AGO’S FIRST SOLILOQUY

What effect does direct address to the audience have?

ACTIVITY

Research the definition of ‘Soliloquy.’ Watch the video Exploring a Soliloquy. (This is of the actor Pappa Essiedu talking about Hamlet , but his points can be applied to other soliloquies.) Read through Iago’s speech at the end of Act 1 Scene 3 , beginning ‘Thus do I ever make my fool my purse.’ This is the first time in the play Iago, or indeed any character, directly addresses the audience. Think about the three topics that were explored in the video: Punctuation, Sounds and Line End- ings. Circle or make a note of examples in Iago’s speech where these elements seem interesting to you. What effects do these interesting moments have on the listener? Watch the soliloquy in performance here, performed by Lucian Msamati. Notice moments where the actor has decided to engage directly with the audience. What effect does this have? What position does it put the audience in, hearing first-hand from the villain of the play and their intentions?

EXTENSION

Samuel Taylor Coleridge claims that Iago’s soliloquies reveal ‘the motive-hunting of motiveless malignity.’ Summarise if you agree with this statement or not. To what extent do you agree that Iago makes up the plan to ‘abuse Othello’s ear’ on the spot? What effect does the audience seeing this have?

WHAT YOU NEED

A piece of note paper, or a notebook and something to write with. A computer with internet connection, ready to watch these clips: Exploring a Soliloquy and Iago’s Soliloquy in Performance. A copy of Act 1 Scene 3 to read, either on the page or onscreen.

11 – I AGO’S MOTIVES

What are Iago’s motives?

ACTIVITY

Familiarise yourself with Act 1 Scene 1, and write down any motives you find for Iago’s intended behaviour to Othello. Why does he profess to ‘hate’ him? Watch Iago’s soliloquy in Act 1 Scene 3 in performance here. Read the speech and pick out any new motives we learn here. Do you believe Iago? Re-write the speech in the form of a text message to a close friend. Use your own words and think about how much detail you feel you need to go into. Your message has been found by the authorities. Now justify your actions in a written state- ment. Analyse how easy this was to do. Reflect back on Iago’s motives, and what you know about his actions in the play. Is Iago ‘motiveless’? To what extent do you agree that his actions spiral out of control?

EXTENSION

You receive the message from Iago. What would your reply be? Write it back. Are you for or against Iago’s plot? Excited to see what happens? Or horrified already at this cold - hearted sol- dier? Repeat the same exercises on this page with Iago’s soliloquy at the end of Act 2 Scene 1.

WHAT YOU NEED

A piece of note paper, or a notebook and something to write with. A computer with internet connection, ready to watch this clip. A copy of Act 1 Scene 1, and Act 1 Scene 3, to read either on the page or onscreen.

13 - THE PARTY

What happens at the party?

ACTIVITY

Go to the ‘Scene by Scene’ page on the RSC Learning Zone here. Read the summary of Act 2 Scene 3, to familiarise yourself with the scene, and then read it in full. Divide a large piece of paper, or notepad into squares, or take a stack of PostIT notes. Summarise the plot of the scene in brief statements; focusing on key ‘beats’ (e.g. Othello leaves the party ). Create a storyboard in the order of what happens in the scene. How few beats do we need to understand what is happening? Experiment with removing or merging beats to see if the story can still make sense.

EXTENSION

Now think of the scene visually: create yo ur own storyboard of the scene’s plot for a comic book or graphic novel. Divide your paper into squares or panels so that you have one for each thing on your list. Draw a picture within each square until you have your story complete. Be as bold as you like! Add quotes from the play in speech bubbles or characters thoughts and reactions.

WHAT YOU NEED

A large piece of paper, or a notebook and something to write with. A computer with internet connection, ready to visit this page. A copy of Act 2 Scene 3 to read either on the page or onscreen.

14 - IAGO REELS IN OTHELLO

How does Iago finally convince Othello?

ACTIVITY

Look at the duologue between Iago and Othello in Act 3 Scene 3, from Lines 90 - 117. ( “Excel- lent wretch!” to “My lord you know I love you.” ) Read the scene aloud and click your fingers each time a word is quickly repeated by either char- acter? Which words are ‘passed’ between them to and fro? e.g. IAGO: But for a satisfaction of my thought, No further harm. OTHELLO: Why of thy thought Iago. Read the scene again, and this time throw or roll a ball from one hand to the other when it feels like either character is ‘passing back the energy’. Notice as you read whether you pass the ball whilst speaking a word, or after the sentence is over. Also notice when there are frenetic moments of back and forth, or moments of stillness. Ask yourself: How is Iago forcing Othello to ask questions? What is the main tactic Iago is using to get what he wants? Watch a later excerpt in the same scene here. How ‘at ease’ is Iago with Othello? Does this deception seem to come naturally to him, or do we notice moments when he is ‘thinking on his feet?’

EXTENSION

How sorry do you feel for Othello in this scene? We - the audience - are privy to Iago’s true in- tent. But, to what extent is Othello somewhat to blame? Identify some quotes which example Othello’s naivety. “Perdition catch my soul But I do love thee! And when I love thee not, Chaos is come again.” No- tice how Chaos is capitalised. Who is Chaos? Research Greek mythology.

WHAT YOU NEED

A piece of note paper, or a notebook and something to write with. A computer with internet connection, ready to watch this clip. A copy of Act 3 Scene 3 to read either on the page or onscreen. A small ball.

16 - VERSE AND PROSE

What are the dramatic effects of verse and prose?

ACTIVITY

Watch this video, explaining the rhythm (Iambic Pentameter) behind Shakespeare’s verse. Read the beginning of Act 4 Scene 1 and determine if the characters are speaking in verse or prose. Tap out the rhythm whilst reading the words. NB Notice that sometimes characters may share a line of regular iambic pentameter; as is the case with the first three lines of this scene. In Othello , Shakespeare intermingles the two styles verse and prose frequently, often using this shift to represent a shift in emotions. Keep reading the scene. Where does the verse form begin to break down into prose? Why? Notice what happens to Othello’s language specifically during the course of the scene. How does his pattern of speech reflect his emotional state? Early on, Othello uses verse to create a metaphor “As doth the raven o’er the infectious house” - compare this to his speech moments later before he falls down, overcome with rage. What effect does ‘devolving’ from verse to prose have? Find and write down some quotes that best example this for Othello in this scene.

EXTENSION

Find examples of Iago switching back and forth between verse and prose. Why may this be? Iago seems to move between each form intentionally and with ease. What does this indicate? Think back to activities 8 and 14 when we looked at rhetoric and manipulation.

WHAT YOU NEED

A piece of note paper, or a notebook and something to write with. A computer with internet connection, ready to watch this clip. A copy of Act 4 Scene 1, to read either on the page or onscreen.

17 - THE WILLOW SCENE

What kind of relationship do Emilia and Desdemona have?

ACTIVITY

Watch the video of two actors rehearsing Act 4 Scene 3 , here. Notice the variety of choices available to the actors, and how they collaborate with the director Iqbal Khan in moments of discussion. In Act 4 Scene 3 after Othello furiously exits after demanding Desdemona produce the handker- chief, Emilia and Desdemona have the following dialogue:

Emilia: Is not this man jealous?

Desdemona: I nev’r saw this before. / Sure there’s some wonder in this handkerchief;

/ I am most unhappy in the loss of it.

Emilia: ’Tis not a year or two shows us a man: / They are all but stomachs, and we

are all food’ / They eat us hungerly, and when they are full / They belch us.

Notice how the two women come to different conclusions about Othello’s behaviour. There is an awareness about the treatment of women by men, especially by Emilia.* Read Act 4 Scene 3, how are these opinions continued here? What are both character’s outlooks? Where do they disagree? Who has the status? Does it change? (A key mo- ment in the rehearsal video for example is when Desdemona chooses to throw water over Emi- lia.) Read the scene from Line 24 “My mother had a maid call’d Barbary” until the end of the song: “Let nobody blame him, his scorn I approve”. What significance does this song have? How much does the song predict what is to come?

EXTENSION

WHAT YOU NEED

A piece of note paper, or a notebook and something to write with. A computer with internet connection, ready to watch this clip. A copy of Act 4 Scene 3 to read either on the page or onscreen.