This second edition of Othello updates the first (Bristol Classical Press, 1987), both chronologically and conceptually. It includes consideration of productions from the last seventeen years, and reconsiders earlier material in the light of more recent critical attitudes. Post-colonial and feminist studies have had an impact on the way Othello is perceived and interpreted. The question of blacked-up/black/colour-blind casting and the significance of white and/or black audiences in different political and racial contexts have recently become much more clearly articulated. In the process, Shakespeare himself has not escaped the charge of racism. Equally, the position of Desdemona has received more focussed attention, both as the forbidden object of desire within a racial framework, and as a woman in her own right. This edition takes account of these developments in criticism, in the theatre, on film, and in the adaptations which set out to interrogate Shakespeare's text.
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Aldridge April audience Barton Beerbohm Tree Bell's edition Bianca Boaden Brabantio Carroll Cassio critic Cyprus David Harewood Desdemona dost DUKE Edwin Booth Ellen Terry Emilia Exit eyes face Fechter gave Gentleman gesture GRATIANO hand handkerchief hath Hazlitt heaven honest IAGO Ian McKellen Imogen Stubbs Irving jealousy John Kani Jonathan Miller Kean Kean's Kemble Kemble's kiss lago lago's Lewes LODOVICO look lord Macready Macready's Mason McKellen Mendes's MONTANO Moor murder National Theatre Production never night nineteenth century noble Nunn's production October Olivier Oscar Asche Othello Ottley Parker cuts Parker's film passion performance play promptbook and video quoted Ray Fearon Richard McCabe Robeson Roderigo RSC archive film Salvini scene seemed Senators September 1997 Shakespeare smile soul speak speech spoke stage direction Suzman's video thee thou thought tragedy Tynan Variorum Venice villain voice Webster's whore wife Willard White words wrote Zoe Wanamaker