10.1.3
Modern & Contemporary
Modern and Contemporary Criticism
Modern and Contemporary Criticism
Two of the most important commentators on Shakespeare’s tragedies are A.C. Bradley and Gardner, though they disagree in their ideas about Othello.
Bradley
Bradley
- One of the most important commentators on Shakespeare’s tragedies was A(ndrew) C(ecil) Bradley (1851-1935).
- Bradley took a very character-driven response to tragedy.
Shakespearean Tragedy
Shakespearean Tragedy
- In his book Shakespearean Tragedy, first published in 1904, he said that ‘Of all the tragedies... Othello is the most painfully exciting and the most terrible’.
- He also commented that ‘there is no subject more exciting than sexual jealousy rising to the pitch of passion’.
Gardner
Gardner
- Another important critic was Helen Gardner (1908-1986).
- She disagreed with many of Bradley’s ideas about Othello.
- Writing in 1963, Gardner said that ‘Othello is like a hero of the ancient world in that he is not a man like us, but a man recognized as extraordinary.’
Solitariness
Solitariness
- Gardner also said that ‘the thing that most sets him apart is his solitariness. He is a stranger, a man of alien race, without ties or nature or natural duties’.
Modern and Contemporary Criticism
Modern and Contemporary Criticism
Contemporary critics have read Othello in light of modern ways of life, including women's sexuality, post-colonialism and religion.
Sex
Sex
- A recent interpretation of the play has been offered by Karen Newman, who explores the connection between race and sexuality in critical responses to the play over time.
- One idea that Newman puts forward is that Desdemona appears to enjoy sex—something that would have been considered unacceptable for women in Shakespeare’s day.
Foreigner
Foreigner
- Furthermore, Newman argues there is the issue that she ‘enjoys sex with an outsider’.
- Therefore, many prejudices and stereotypes are turned upside-down by their marriage.
Post-colonial readings
Post-colonial readings
- Post-colonial readings focus on the play’s representation of Ottoman Turks and argue that Othello is also part of this distinctive ‘Other’ world.
Religion
Religion
- In fact, Othello and the Turks have a religious commonality about them.
- Othello is a foreign mercenary but he has been engaged to defeat his own ethnic and religious group.
- This may also seal his tragic fate.
Modern and Contemporary Performance
Modern and Contemporary Performance
Othello has been performed regularly since publication. Modern and contemporary productions have ranged from the traditional to the progressive.
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America, 1943
America, 1943
- An American production took place in 1943 staging starring Paul Robeson as Othello and José Ferrer as Iago.
- This production was the first ever in America to feature a black actor playing Othello with an otherwise all-white cast.
- Considering the sensitivities over race relations in America at this time, this was a bold performance.
London, 1964
London, 1964
- In 1964, the famous actor Laurence Olivier played Othello at the Royal National Theatre in London.
- In order to perform this role he was ‘blacked up’ to look Moorish.
- These days, such practice is never completed in the theatre as it is considered politically inappropriate.
Washington, 1997
Washington, 1997
- In 1997, Patrick Stewart performed Othello with the Shakespeare Theatre Company in Washington, D.C. in a ‘photo negative’ production.
- He played a white Othello with an otherwise all-black cast.
- The play therefore explored a white man operating in a black society.
1Context
1.1Introduction
1.3Othello
2Act One: Summaries & Themes
2.1Act and Scene Summaries
2.2Scene One
2.3Scene Two
3Act Two: Summaries & Themes
3.1Scene One & Two
3.2Scene Three
4Act Three: Summaries & Themes
5Act Four
5.1Scene One
5.2Scene Two
5.3Scene Three
6Act Five
6.1Scene One
6.2Scene Two
7Character Profiles
7.1Major Characters
7.2Minor Characters
8Key Themes
8.1Love & Tragedy
8.2Other Key Themes
9Writing Techniques
9.1Writing Techniques
10Critical Debates
10.1Criticism & Performance
11Approaching AQA English Literature
11.1Specification A
11.2Specification B
12Issues of Assessment
12.1The Exams
Jump to other topics
1Context
1.1Introduction
1.3Othello
2Act One: Summaries & Themes
2.1Act and Scene Summaries
2.2Scene One
2.3Scene Two
3Act Two: Summaries & Themes
3.1Scene One & Two
3.2Scene Three
4Act Three: Summaries & Themes
5Act Four
5.1Scene One
5.2Scene Two
5.3Scene Three
6Act Five
6.1Scene One
6.2Scene Two
7Character Profiles
7.1Major Characters
7.2Minor Characters
8Key Themes
8.1Love & Tragedy
8.2Other Key Themes
9Writing Techniques
9.1Writing Techniques
10Critical Debates
10.1Criticism & Performance
11Approaching AQA English Literature
11.1Specification A
11.2Specification B
12Issues of Assessment
12.1The Exams
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