![]() Poet Samuel Taylor Coleridge once remarked that, ‘Seeing him act was like reading Shakespeare by flashes of lightning’. Keen was renowned for his ability to touch audiences with the pathos and kinetic energy of his performances. He actually collapsed onstage during a particularly emotive rendition of Act 3, Scene III of the play, performed on March 25th 1833 at London’s Royal Opera House theatre, Covent Garden. It certainly proved to be that for English actor Edmund Kean, the most celebrated Othello of the 19th century. Burbage’s appointment as 'Othello number one' set the racial blueprint for the casting of the Moor as a white actor - a convention that would last for over two centuries.ĮDMUND KEAN Many scholars consider Othello to be William Shakespeare’s most demanding role. It was almost certainly Burbage that starred in Othello’s 1604 London theatre debut, although nothing is known of whether or not he appeared in blackface, or what costume he would have worn. He was recognised as the foremost actor of his day - the Elizabethan equivalent of Tom Cruise or George Clooney. 1 First to perform the role of the Moor in the theatre was Richard Burbage, star actor in the King’s Men, who played all of Shakespeare’s most celebrated parts. The last four centuries has seen a rich diversity of film and theatre interpretations, both classic and modern. Re-evaluating the play’s dialogue, settings and costume has become standard for young directors of film and theatre eager to distinguish their productions from those of the past, and to appeal to contemporary audiences. Today, black actors have mostly re-appropriated the role, and the white Othellos are rare. Despite this, up until recently he has been performed by white actors in blackface. Some argue that he is black, others that he is Arab. Today, movie and theatre productions and performances remain as popular as ever, and its central themes of racism, love, jealousy and betrayal are as relevant to life now as they were back then. Othello then appoints Iago to the lieutenancy.ORIGINALLY ENTITLED, The Moor of Venice, the first production of Othello was performed by Shakespeare’s theatre group, the King’s Men, on November 1, 1604, in the Banqueting House of London’s Whitehall Palace. Othello is convinced by this “proof” and vows to kill Desdemona Iago agrees to kill Cassio. Iago alleges that Cassio one night talked in his sleep about making love to Desdemona and that Cassio once wiped his beard with the lost handkerchief. Othello reenters and, now tormented by jealousy, threatens Iago with death unless he provides proof of Desdemona’s infidelity. ![]() Emilia picks it up and gives it to Iago, who has often asked for it. As they exit, the handkerchief drops unnoticed by either of them. When Desdemona enters and Othello complains of an aching head, Desdemona offers to bind his head with her handkerchief. He warns Othello against becoming jealous of Desdemona. When she exits, Iago says that Cassio’s avoidance of Othello is suspicious and that Cassio may not be honorable, all the while insinuating that he, Iago, knows more than he is willing to say. Desdemona pleads to Othello on Cassio’s behalf. Cassio leaves hastily in order to avoid speaking with Othello. Desdemona’s interview with Cassio is cut short by the arrival of Othello.
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