OthelloManchester University Press, 2002 M09 7 - 242 pages Lois Potter traces Othello 's acting tradition as it affected the playing of Othello, Desdemona, characters originally played by a white actor and a boy, respectively, and Iago. She examines the stage and screen versions of the play, including a full study of Paul Robeson's 1943 avatar of the character, that reflect or challenge current views about race and gender. |
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acting text actor actors played actress Aldridge Aldridge's appearance audience Bianca black actor Booth Brabantio Cassio cast century characters comic contrast costume critics Cyprus Desdemona director Ducis Edmund Kean Edwin Booth effect Emilia emphasized English famous Ferrer film final scene Frank Finlay hand handkerchief hero heroic Iago Iago's II.i III.iii Ira Aldridge Irving Italian IV.ii James Earl Jones jealousy Jones and Niven José Ferrer Kean Kemble killed later lines Lodovico London look Macready makeup Margaret Webster Marshall and Stock Moor murder nineteenth-century Olivier opera Oroonoko Othello Othello and Desdemona Othello and Iago passion Patrice Johnson Patrick Stewart Paul Robeson performance perhaps play's played Iago playing Othello production promptbook racial racism reviewers Roderigo role Russian Salvini seems seen sexual shows song sound spectators speech stage Stanislavski story Stratford Stratford-upon-Avon suggests Suzman theatrical tradition tragedy tragic Venetian Venice villain Webster Welles's white actor wife willow scene