final paper OUTLINE

final paper OUTLINE - Rachel Swartz November 28, 2007 ENLT...

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Rachel Swartz November 28, 2007 ENLT 250 Fall 07 Fran Connor Final Paper – question 3b Final Paper Rough Outline/Abbreviated Bibliography Working Title- Photonegativity: The power of reversed racial casting in Othello in performance Othello ’s performance history is one of the most interesting of the Shakespearean canon. From Elizabethean and Jacobean productions to Ira Aldridge and Paul Robeson to Laurence Olivier in blackface to Laurence Fishbourne in film, productions of Othello have each dealt with casting the protagonist differently based on the social constricts of the time and the aim of the director. Perhaps no casting has been ever so ambitious as placing world-famous classical actor Patrick Stewart, a white man, in the shoes of the Moor, as he was in renegade director Jude Kelly’s 1997 production at Washington, D.C.’s Shakespeare Theatre. A rather unconventional presentation for modern times, this production actually sticks to a conventional reading: that race is a metaphor for Othello’s emotional isolation from the rest of his society. However, the production also served to enforce the concept that both racial identity and racism are intrinsic to the meaning of the play, as are the white/black symbols underlined by the use of Caucasian and African actors. I. Intro a. This production focuses on the interpretation that Othello is an outsider, with race as a metaphor for his isolation; however, it enforces the idea that race and racism are intrinsic to the meaning of the play, as are the
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This note was uploaded on 04/07/2008 for the course ENLT 250 taught by Professor O'connor during the Fall '07 term at UVA.

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final paper OUTLINE - Rachel Swartz November 28, 2007 ENLT...

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