Science Leadership Academy

Well, I am delighted to say that my team and I are finally done with both the script and the final presentation. I admit, we met quite a lot of difficulties, and just after a week I started to feel unconfident about the outcome of this project. Nevertheless, things turned out great. In fact, today we finished up the presentation, consisting in a Garage Band file we created a few days ago. And, although we didn’t have it completed for the beginning of class this morning, Mr. Chase received the final file thanks to Mithun, who spent all the remaining time working on the audio version of the script. Thankfully, despite the first misunderstandings with some of my group members, all of us did what we were supposed to do. Strangely however, we eventually decided to make audio version of the script, based on the audio version of the book itself. We did so because after a while we realized that half of us had pronunciation problems, and therefore we weren’t able to speak fluently and perform well.

Almost a week ago, we faced a technical difficulty: Naadir didn’t come to school that particular day, and we absolutely needed his part of the script. Unfortunately, he wasn’t even able to post them on the Google document. But, I knew he actually had them done on his laptop. So, after a couple of hours I lost hope, and decided that I had to find important lines we were missing, since I was the team manager. In that occasion I read the act in which the characters are waiting for Otello to arrive on the shore in Cyprus. I identified a very relevant line, which very few people noticed. I am talking about the one when Cassio takes Desdemona’s hand as an act of courtesy. It actually is an act of courtesy where Cassio comes from, but to the eyes of everyone else in Venice and Cyprus, it symbolizes a simple interest toward that specific woman. In essence, it can be interpreted as a Cassio’s mistake, by showing this supposed “attraction” for Desdemona. Today, I also found an interesting quotation from the writing Analysis of Iago, and it is the following: “However, it is not that Iago pushes aside his conscience to commit these acts, but that he lacks a conscience to begin with.” I have to say, I disagree with this statement. You see, if Iago does not have a conscience, why in almost every scene does he try to justify his immoral acts with pointless subterfuges and pretexts? I thought about the answer for a while, and I realized that by doing so, Iago shows to have a certain, although undefined conscience.