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Journal #1

Act 2, Scene 1, Page 8

IAGO

(aside) He takes her by the palm. Ay, well said, whisper! With as little a web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do, I will gyve thee in thine own courtship. You say true, 'Tis so, indeed.

- Iag0

In this scene Iago is talking to Desdemona and Cassio, they are talking about how the think women should act. They are talking about what they should and should not do. Everyone leave the scene and Iago is left on the stage and is talking to himself. He is talking about how Cassio is falling right into his plan. He is going t frame him of cheating with Desdemona. 

The feeling that I get when reading this soliloquy is that Iago is trying to be quiet also very sneaking. I would use more pauses between his words to show that he is being dramatic. I would also have Iago slurring his words to show that he is trying to be quiet but also to show that he is really excited about casssio falling into his plan. 

Journal #2 

The secondary character that I choose from Othello is Roderigo. I picked him because he played sort of a big role in Iago's plan. Roderigo is in a lot of the earlier scenes of Othello until he is of course killed by Iago. When we first get introduced to Rodergio we learn that he is in love with Desdemona. He feels as though he will make Desdemona an honesty women out of her. He is told by Iago that he will be able to make Desdemona fall in love with him. Roderigo falls right into Iagos plan. “I tell you 'tis not very well. I will make myself known to Desdemona: if she will return me my...” In this quote Iago is talking about his love for Desdemona. Roderigo is soon killed in the Play. But throughout the play Roderigo was always able to confess his love for Desdeoma. 

Journal #3 

Iago Lucas Santano was born on March 12 to Lucas and Iagoana Santano. From the beginning he was a very bulky child. Some may call him pleasantly plump. Growing up his father Lucas was a evil man. He was never satisfied with what he had. He would constantly yell at his children Bill, Mary, Tom and Sue but he was especially hard on his oldest son Iago. Iago's father thought that his son wasn't had enough. Iago enjoyed dancing where as his other brothers wanted to be sword fight and get dirty like " Normal Boys". Iago was bullied by his Dad until he finally Man up and join the army. When he meant his wife Emilia he vowed that when they had children he would never become like his father. Iago and Emilia parented three children Iagoana, Lucas and Emilia. Iago became a great warrior but like he father he still carried hatred in him and always wanted more. That is when the hate started to filter with Othello. He was jealous that a Man like him could become a moor. 

Journal #4

In the scene that we are doing my character is Iago. In the scene he only has a big paragraph at the end. He is talking about his plotting against Othello ( like always).When reading the line I got that he was very anxious. I decided to walk back during the scene to show that he is anxious. The prop that I am going to use is a scarf. When doing the scene I am going to throw the scarf around my neck to show my arrogance.. I think something that make our group stand out is the we have accents.

The scene that I had was 1b and Iago only had one line in the scene. Though it was only one line it was a very long one. “ I hate the Moor: and it is thought abroad, that ‘twixt my sheet he has done my office:....” In this paragraph Iago is talking about how he is going to break up Othello and Desdemona. Like most of his lines. Iago is a man that seems to repeat himself often. He is a very obsessive man. Once he gets an idea in his head it seems as though he can never really get it out. When reading the quote the first thing that came to my mind was that Iago was very urgent in the way he was speaking. 

I feel like my group and I could have done way better. I feel as though we didn’t do as well as planned because we were missing a group member and it through us off a little. I feel like my part could have went better if I was able to connect with the audience a little more. I should have memorized my lines a little more so I could worry more about my hand movements and my facials. I am proud that everyone kept their character. 

Journal #1: Soliloquy

Act 5, Scene 1:

I have rubbed this young quat almost to the sense,

And he grows angry. Now, whether he kill Cassio

Or Cassio him, or each do kill the other,

Every way makes my gain. Live Roderigo,

He calls me to a restitution large

Of gold and jewels that I bobbed from him

As gifts to Desdemona.

It must not be. If Cassio do remain

He hath a daily beauty in his life

That makes me ugly. And besides, the Moor

May unfold me to him—there stand I in much peril.

No, he must die. But so, I hear him coming.

In this scene, Iago is breaking off from his conversation with Roderigo to talk to himself/the audience.  I would have his voice be somewhat softer compared to his conversation with Roderigo. He will also be turned towards the audience, side stepping from Roderigo. When he says "Live Roderigo...", Iago will bring one hand up, and when he says "If Cassio do remain..." he will bring the other up, as if weighing the two options. When he says "And besides, the Moor may unfold me to him..." he will wipe his hands away, as if erasing a thought written out in front of him. He will also say this as if pointing out something obvious. This will show that he is changing his thinking, figuring something out for the first time, talking to himself. He will say "No, he must die." gravely, all emotion somewhat gone from his voice, as he shows no regret for the morbid plan. When he says "But so, I hear him coming.." he will say that softly, and walk back over to where he was before this soliloquy. 

Journal #2: Secondary Characters

My character is Bianca. The first time Bianca is seen is Act 3, Scene 4, when she runs into Cassio, on the way to his house. We see that they are in an intimate relationship, and that she is clearly eager for Cassio's love. She becomes jealous when she sees the handkerchief of another woman in his possession. She's then mentioned in Act 4, Scene 1, where Cassio explains to Iago that she is a whore, and he has no intention of marrying her, which she seemed prepared to do. Bianca then appears, apparently having thought that it wasn't possible for Cassio to have simply found the handkerchief, and seems to be full of rage. She sees that Cassio has the token of another woman, and does not know where he got it from. We do not know what Bianca is specifically told, though we do see that Cassio is somewhat agressive with her when Iago is there, and she ends up leaving in anger, basically saying she will not invite him to her house any more. If we only concentrate on the scenes with Bianca, we can see that she is unaware of anything going on with Iago, Desdemona, or Othello, and Cassio's involvement in it. All she sees is the man she loves having something from another woman in his possession, and it's understandable how that strikes her jealousy. 

Journal #3: Character Background

My character is Desdemona. She was born into a rich family, her father being a senator. She had an easy childhood, excelling in her studies, and not having to worry about much else. Her father spoiled her, giving her anything she wanted. Her mother died when she was younger, and she spent a lot of her childhood either alone, or with her tutor, due to her fathers busy schedule. This made her aware of how important it was to show your love for people, as she often felt somewhat neglected. She met Othello through her father, and was immediately drawn to his story. She saw his broken past, and fell for him, wanting to be the one to fill him with love. She knew her father would never let her get married so quickly, but she felt so sure of Othello, and their love, that she decided it was worth it to go behind his back.

Journal #4: Characterization

I'm playing Desdemona in the scene where they appear in the court to justify their marriage. To do this, I have to make sure that I show my respect for my father, as well as my commitment to my husband. I'll kiss my fathers hand, but go and link arms with my husband to enhance both of these things. I tried to make my voice buoyant and kind, because Desdemona is described as gentle and sweet. I think that for my prop I'm going to pile on a bunch of necklaces, because she's rich and probably wore a lot of jewelry. I have a few rings that I might wear as well, just to look more feminine and wealthy. I think that since our scene doesn't have as much action, it's harder to make it stand out, but our characterization is really key. We've decided on some interesting developments regarding voice and posture, so I think that will make our scene really work.

Journal #5: Reflection on Performance

“But here is my husband, and so much duty as my mother showed you, preferring you before her father, so much I challenge that I may profess due to the Moor my lord.” Act 1, Scene 3.

This line comes right after Desdemona reassures her father of her respect for him. It shows that, although she does respect him, her husband is where her loyalty lies. When I performed this, I made sure to move from my initial position of standing by my father, to next to Othello, linking arms with him and showing my commitment to my marriage. This line is delivered to Brabantio, which leads me to think that Desdemona in a way kicks a soft spot in her father, and it’s a little bit of a guilt trip. 

Our performance didn’t go exactly as planned, because we were actually missing one of our actors. However, I think we were still able to do all that we planned to do, as far as delivery goes. I think we did really well with characterization, each of us sort of bringing our own twist to our respective character. Our scene didn’t really have a lot of action, so it was difficult to bring it to life, but I think that we were able to do our best with it.

Performing the play made me more aware of key elements within it. It’s easy to get lost in Shakespeare, because there are so many details, and it’s all hidden behind difficult language. Breaking it down, and seeing it performed, as well as performing it, made it not only easier to follow, but easier to notice important parts. 

Will Amari 

4/23/13

Silver

Benchmark Journals

4/24/13 Journal #1: 

Find a soliloquy in Othello when Iago might be addressing more than one of the possible audiences discussed today. Write out / copy and paste the soliloquy, and add your own "director's notes" indicating where Iago would switch delivery techniques to appeal to a higher power, and then to himself, etc. Indicate how his line delivery and physical movement might change to show he is changing audiences. 

IAGO

That’s not amiss,

But yet keep time in all. Will you withdraw?

Now will I question Cassio of Bianca,

A huswife that by selling her desires

Buys herself bread and clothes. It is a creature

That dotes on Cassio, as ’tis the strumpet’s plague

To beguile many and be beguiled by one.

He, when he hears of her, cannot refrain

From the excess of laughter. Here he comes.

As he shall smile, Othello shall go mad.

And his unbookish jealousy must construe

Poor Cassio’s smiles, gestures, and light behavior

Quite in the wrong.—How do you now, lieutenant?

Directors notes: 

Initially, it is clear that Iago is speaking to Othello. They are the only two people present at this part of the scene, and Iago is asking him to hide from Cassio. After Iago says, “Will you withdraw?” Othello hides and Iago begins to either talk to himself, to God, or to the audience. You know this because he starts using the word I with the phrase, “Now will I question Cassio of Bianca,” even though no one else is with him, It is most likely that he is talking to himself, because of Iago’s bizarre nature. He is the least sane person in the play, thus he is the antagonist. Iago has talked to himself previously in the play, and he will continue to do so later. When Iago says, “—How do you now, lieutenant?” He is now speaking to Cassio, who has just entered the stage. Shakespeare uses a dash, to show that Iago has stopped ranting on about his plans, has moved on to turn and greet Cassio, who is the lieutenant he was referring to in that sentence. 

4/25/13 Journal #2: 

Choose another secondary character from Othello (that is, not Othello or Iago or Desdemona) and investigate the play for his/her perspective. Answer the following prompts in paragraph format (150-200 words.)

Name a couple of important scenes that this character appears in. (You'll have to look them up, and include the act and scene numbers.)

• What does this character observer first hand? (What do they see personally?)
• What does this character observe second hand? (What are they told by other characters?)
• How can we understand this character's motivations better when we concentrate only on their scenes?

At the end of Act 1 Scene 3, from lines 343 to 425, Rodrigo and Iago are alone and have an important conversation. Rodrigo is in a deep state of depression and is planning to drown himself. He adores Desdemona, who is married to Othello and realizes that Desdemona truly loves the Moor, and has not planed to find another. Rodrigo truly trusts Iago because he is confessing his shame. He feels that killing himself is the only way out of torture. 

Iago convinces him that to kill ones self is a foolish act. He says he’d rather be a baboon. Iago claims that the reason why he feels love is because he feels lust. Essentially, he tells him to man up. He advises him to sell all his land and possessions and that Desdemona is unable to love the Moor. He tells him that Desdemona will dump the Moor for a younger man, and she’ll be looking for a man with money. Iago says that he’ll take the money that Rodrigo makes, and that he’ll keep it safe. 

This illustrates that Rodrigo is gullible and desperate. He truly believes that Iago is a safe and trustworthy man. He invests his faith in Iago and because of this his mood quickly changes from a dangerous depressed state to becoming immensely happy. 

4/29/13 Journal #3: 

Write a character background using your Character Sheet as a guide. Tell the story of the life of the character before they enter the play. Explain how these events influenced them to be the kind of person they are during the events of the play.

Iago: Iago was born in the small town of Todi, Italy. His father, Lorenzo was a blacksmith and his mother Adriana, taught Iago at the young age of four to read and write. Iago, because he grew up in a small town, didn’t know a lot of people so he didn’t have many friends. Lonely and bored, he would often play by himself in the foothills of the countryside. There he found contentment by spending time chasing rabbits, climbing trees, and watching clouds drift by in the sky. Due to his lack of nourishment, Iago was very skinny and smaller than many other boys his age. When his father died of a heart attack, he moved to Venice at the age of sixteen to live with his aunt and uncle. His uncle Bruno was a wealthy banker and took good care of Iago.  He was allowed to attend school and then became Bruno’s apprentice. Iago did quite well for himself and eventually married his second cousin, Emilia. They were both in their mid-twenties at that time. One day, Iago was challenged to a duel against a man named Hassan, a Moroccan Moor who claimed to have loved Emilia first. When Iago refused this challenge, The Moor called him a coward, and further insulted him when he proclaimed that he had slept with Emilia the night before Iago married her. Iago angrily walked away and began to plot a plan to kill Hassan but, before he go through with it, Hassan was arrested for the rape of two sisters. Iago feeling satisfied, began working as a banker, but because of his love for the city of Venice, he quit banking to join the army.  

4/30/13 Journal #4:

• What specific actions, movements, and tone of voice are you bringing to your character during your performance?
• What PROP and/or COSTUME item is your character going to have? (It is your job to brainstorm one item that you are responsible for.  Some props are clear, like a handkerchief or a wine glass. Others will take a little more creativity!)
• What is going to make your group's presentation stand out? What have you worked on and agreed on as a group for your scene?

My character is Othello, and in this scene he is stressed out, sick, and tired. I am going be sitting for most of the scene. He has a pain at his forehead, so I will rub it, to show that I have a headache. I have been practicing my best Moroccan accent, and I will speak in low and heavy tones. Othello seems like a big guy so I’ll try spread out my body. I want to bring a bandana as the handkerchief, and a blanket as a cloak. I think the blanket as a cloak is a nice touch. Then I am going to memorize my lines and try to sound as convincing as possible. Hopefully everyone’s acting skills will be in top condition. I believe if everyone memorizes their part, knows when to come in and out, and brings in a prop, then we’ll be fine, and we’ll stand out for sure. My scene is a very important part of the story. This is the scene when Iago finds the handkerchief he is going to use to frame Cassio. 

5/1/13 Journal #5:

• Analyze one of your lines from your scene. Quote it directly and then explain why it is important to the play, and how you showed its importance in your performance. How did you deliver this line?
• Did your group's performance go as you expected and planned? Now that it is over, what are you proud of? What would you have done differently in your performance?
• How did performing the play change your understanding of it? 

I played Othello, and although my lines were short, they had a lot of meaning, and had an huge influence on my overall performance. I had three lines, and out of all of them, the one that said the most to me, was the one when I stood up and said, “I have a pain upon my forehead here.” It doesn’t seem very important at first glance, but Shakespeare did write this line for a reason. He wanted to show the first step towards Othello’s downfall. The “pain,” is arguably foreshadowing that could hint at greater pain for Othello in the future. He is stressed and sick and it will only get worse later on. This is also when he loses his special handkerchief, which causes him to lose his sensibility and he is mentally conquered by anger and jealously, the green-eyed monster. If Othello wasn’t sick, he wouldn’t had been angry, which means he wouldn’t have thrown his handkerchief onto the ground. If he hadn’t left his handkerchief out there in the open, Emilia never would had been able to steal it and give it to Iago. If Iago was never given that handkerchief, he wouldn’t have had the opportunity to frame Cassio. The handkerchief is the most important item in the story. Without it, there would be no plot, thus my scene where Othello loses the handkerchief, is the most important scene in the story. 

My performance went very well. I actually think we were one of the best ones. I memorized my lines and stayed in character. Sure I wasn’t expecting a Tony/Oscar performance, but It did go the way I expected. It could’ve been worse, but it wasn’t, so I’m happy. If I had to do anything differently, I would encourage my group members to memorize their lines, but over all I thought that my (excuse me) our performance went well.

Performing the play was an interesting experience because I could now witness Shakespeare's words come to life. So I guess seeing the action helped me understand the visuals a little better. To be honest when we were reading, we discussed, wrote about, and analyzed this book so many times, that by the time we performed, I had already understood Shakespeare's language as if it was my own. Recently I saw a Shakespeare comedy called Love’s Labor’s Lost. I’ve never read or heard of this play before, and when watching it, I was surprised by how well I could keep up with the plot. I understand Othello, and I understand Shakespeare.

Wendy Tepoz 

Journal #1 :

 IAGO

(to himself) I’ve rubbed this young pimple until he’s ready to pop, and now he’s angry. Whether he kills Cassio, or Cassio kills him, or they kill each other, it all works in my favor. If Roderigo survives, though, he’ll ask me for all the gold and jewelry that I stole from him and said I gave to Desdemona. I can’t let that happen. If Cassio survives,he’s so handsome and well-spoken that he makes me look ugly. And besides, the Moor might tell him about my lies about him.—That would be very dangerous for me. No, he’s got to die. Let it be so. I hear him coming.

Iago talks to reader/ audience in the writing. He changes the people who he interacts with. He first talks to the characters in the story, and its like he lies to the character, and he tells us the truth; the thoughts he is thinking in his head. In this paragraph, he talks to himself talking about the plan that will happen in the play. Iago in the first paragraph he tellls Rodrigo to stand and stab Cassio. When he starts to hide, he talks to himself and tells himself that if the plan goes well, Cassio and Rodrigo would kill each other, and it will be less work for Iago. The mood changes through this scene because Iago first is motivated to tell Rodrigo things that will get him mad, so he can kill Cassio. When he starts talking to himself, he becomes more evil, thinking the plan will work. 

Journal #2 

Act 3 Sc 3 Line 335

 EMILIA

Oh, is that all? What will you give me now

For the same handkerchief?

IAGO

What handkerchief?

EMILIA

What handkerchief?

Why, that the Moor first gave to Desdemona,

That which so often you did bid me steal.

IAGO

Hast stolen it from her?

EMILIA

No, but she let it drop by negligence

And, to th' advantage, I being here, took ’t up.

Look, here it is.

Emilia knows her husband wants the handkerchief, so she sees it fall and thinks she will give it to her husband because he called her stupid. She only told him about the handkerchief to torture him.She had the handkerchief but she did not steal it. She took it because Desdemona dropped it. She changes through the story because first she is very nice to her friend but then she trades on her by not giving the handkerchief back. She gives it to her husband.

Journal #3

Bianca came in to a play, she had a bad experience with men and she got cheated on many times. It happen to her a lot and when she got in to the relationship with Cassio, he gave her the handkerchief. She knew it was from someone else. She doesn't trust men so much because of her past with them men have cheated on her lied to her, or used her as a toy. She felt insecure about herself. She tried to protect her self by hiding her jealousy and making it into madness and assume she isn’t the only women in a man’s life. As she says it the play, give it to your “whore” because in the past it happened before to her. She doesn't want it to happen to her again. There fore ,she was trying to stand up for herself.

Journal #4 : 

What i am bring to my performance , is in my tone of voice anger, because I am supposed to be angry at Cassio. I am bringing a handkerchief to the class because Cassio gives Bianca a handkerchief. She gets very upset to hear that the handkerchief is something he just found in his room. She got very angry with his actions. Bianca gives the handkerchief back to Cassio because she thinks a whore left it there. I think this scene is powerful because there is a lot of emotion when with Bianca being angry, and Iago being sneaky with his plan that he wants Othello that the Desdemona is cheating on him with Cassio. What my group and i have agreed on is that when Bianca says her line, she is going to run off stage and Cassio going to run after her, we have to have a loud voice, and a lot of passion with our lines.

Journal #5 : 

"What do you mean by the same handkerchief you gave me even now, a likely piece of work that you should find in your chamber and not know who left it there" The reason i think this line is important is because it completes the whole quote what she says because it describes why she is mad, why the plan that Iago has is going to work, and when Bianca came in it was just a coincidence. With the lines she says with the plan because if it wasn't for her, Othello wouldn't believed as much has he did. Bianca was clear why she was angry, those were the most important lines, threw all. Also i showed importance in my part is because when i did the hand movements and when i threw the handkerchief at Cassio, and my hand movements. I deliver my lines by an anger tone of voice, and the hand movements. My group performance did go as i expected and planned but when i ran out i got my hand stuck on the door which messed me up. I was mad because I got my hand stuck and I broke character. Also it did go as I planned, because everyone were in their places, and good actors. Now that the play is over, I am proud of that I remembered my lines, and I would have done differently by putting more anger in my lines, because i don't think I did good with that, I am not a very good actor, I was nervous, and I really don't like to talk in front of people, I am very shy, so I think I would do differently by speaking more louder. By preforming the play, it painted a picture in my head more clear and it made it more understandable. Reading the play was kinda hard to understand but when we all acted it out, it became more clear what i was reading. it was creative how we all acted out.

Edgar Pacio

Gold Stream

Journal #1

IAGO: [looks down, hand on chin]

That’s not amiss,

But yet keep time in all.

Will you withdraw? 

[looks at Othello]

OTHELLO Exits

[looks at audience] 

Now will I question Cassio of Bianca,

A huswife that by selling her desires

Buys herself bread and clothes.It is a creature

That dotes on Cassio, as ’tis the strumpet’s plague

To beguile many and be beguiled by one. He, when he hears of her, cannot refrain

From the excess of laughter.

Here he comes. 

[looks away]

Enter CASSIO

[looks up]

As he shall smile, Othello shall go mad.

And his unbookish jealousy must construe

Poor Cassio’s smiles, gestures, and light behavior

[slowly looks towards CASSIO]

Quite in the wrong.—How do you now, lieutenant?

  This quote is from the beginning of Act 4 Scene 1 during one of Iago’s soliloquies. Iago looks down at the ground with his hand on his chin. This is a pose that many people make when they are in deep thought. Iago looks towards the audience to indicate that he has switched from thinking out loud to informing the audience. He tells them about his plan to make Cassio talk about Bianca in front of Othello. He then switches his audience again by looking up as if speaking to a higher power as he finishes his plan and realizes what it will cause. As he turns towards Cassio, we now know that he has switched his audience as he begins to talk to Cassio.

Journal #2

“EMILIA: 

Thou hast not half that power to do me harm

As I have to be hurt. O gull! O dolt!

As ignorant as dirt! Thou hast done a deed—

I care not for thy sword, I’ll make thee known

Though I lost twenty lives.—Help! Help, ho! Help!

The Moor hath killed my mistress! Murder, murder!"

In Act 5 Scene 2, Emilia observed Desdemona's death first hand. Desdemona spoke to her as she took her last breaths and Emilia weeped over Desdemona when she finally died. Most things Emilia observed were second hand. She was told about the fight out side and the death of Roderigo. Othello told her that he had been the one who had killed Desdemona. She was also told about how her husband, Iago, made a plan and what its consequences were. By focusing only on her scenes we can understand that Emilia was very fond of Desdemona becuase she was her servant and perhaps even a mother figure. She was there for her every need and stood by her as she died. We can also see that she was loyal to Iago when she stole Desdemona's handkerchief. From Emilia’s actions it can be assumed that her loyalty to the people she is close to is her most important characteristic to the play. Overall she is loyal to those people that seem to have good intentions.

Journal #3

Othello was sold into slavery when he was six years old. He was taken into an army at the age of seven and was put under the wing of a kind retired war hero. As Othello grew older he began to go away from his janitor duties and was taught to become an Italian soldier. He was a soldier for many years until he was recruited to become a general after he had survived many battles against invaders. Since he rose in rank he got to meet more high class families, which is how he met Desdemona. Othello started talking with her and finally won her over. They had a secret marriage together in Venice. 

Othello's past shaped him into what he was. He was faced with many hardships in life, struggling and working hard to reach the rank of army general. He is a dedicated person, which shows when he is determined to carry out Iago's plan to kill Desdemona. He is also a very sensitive person under all his brutish manliness. Othello was truly in love with Desdemona since she was attracted to him for who he was and the struggles he went through. When he went to kill her he was overcome by grief which proves his ability to love people. 

Journal #4

The scene that my group had was a breakdown of Act 3 Scene 3. In the scene Othello is speaking in a quiet, faint, and annoyed voice because he has a headache. He points to his head when he shows Desdemona where on his head he feels the pain. When Desdemona tries to bind his head he becomes somewhat annoyed and takes the handkerchief and tries to put it in his pocket. Othello accidentally drops it without noticing. My prop will be a cloak. I think my group is going to stand out because we have practiced several times and the argument between Emilia and Iago is the most expressive part of the scene. We have worked on the stage directions like Iago snatching the handkerchief, Othello dropping it, and the interactions between Othello and Desdemona.

Journal #5

“Your napkin is too small. Let it alone. Come I’ll go in with you.”

This quote shows that Othello is a bit annoyed with Desdemona and his current situation. Iago told Othello that Desdemona was cheating on him. This caused Othello to have a hard time processing it and thinking about the truth behind Iago’s accusation. When Desdemona tries to bind his headache he pushes her away. He takes out his frustration on her. I delivered this line in a kind of annoyed tone.

My group’s performance did go as I planned. I am really proud of my group members especially Donesha and Haneef because I feel as though they delivered their argument scene very well. If I could do something differently I would have probably made my final line a bit more expressive. Performing the play changed my perspective by making it more clear. It was like re-reading a sentence you didn’t understand at first. Seeing the play again in a shorter and simpler version made it entirely clear on what was going on in the play.

    B. Explain how you found negative space in 1. your cut out?, 2. in your still life drawing?

- It helps because if you can see the negative space then you could see the details of the object you're trying to define.

   D. Does seeing in negative space enhance drawings, why or why not?

Iago

(aside) He takes her by the palm. Ay, well said, whisper! With as little a web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do, I will gyve thee in thine own courtship. You say true, 'Tis so, indeed.

Iago is talking to himself. He is talking about how Cassio should keep talking to the girls so that he can get Cassio and his plan can come together. Knowing this is a good indicator for the characters body language and his movements. It can be like he is talking in his head or time froze and it is just him talking to himself or the audience. He could also be talking to the audience because he is plotting to frame Cassio and Shakespeare could have added this scene to clarify what Iago is planning to do. His movement could be pacing back and forth, showing his impatience to make the plan all com together. Or he could just be frozen; showing that he is just thinking in his head for that split second. If he is talking to the audience, he can grab a chair and talk to them saying what his ambitions are and just state what he wants to do.

2.

Clown

Act 3, Scene 1 Lines 4 – 31 Act 3, Scene 4 Lines 1 - 22

- What does this character observer first hand? (What do they see personally?)

The clown observes the various messages and conversations in the short scenes that he is in. In the Clown's first scene, he experiences Cassio giving him a gold coin to go get Emilia so that he can talk to her. But Iago ended up doing the Clowns job. In the Clown's second and last appearance, the Clown is kind of joking around with Desdemona, saying puns about lying. After the puns, he goes and gets Cassio for Desdemona. I think that he doesn't think or know of what is going on because he is joking and things like that and it also seemed like Desdemona really needed Cassio, and the Clown didn't really take notice.

- What does this character observe second hand? (What are they told by other characters?)

The Clown, in all of his scenes is just told to do little errands for the main characters. In his first scene, he is told to go get Emilia for Cassio, even though Iago ends up doing that errand instead. In his second scene, he is being asked by Desdemona where Cassio is, and the Clown jokes around a little and after that he goes and gets him (exits). That is the last time the Clown shows up in the book.

- How can we understand this character's motivations better when we concentrate only on their scenes?

I think that his motivations are just for money. I don't think that the Clown would just do little errands for people unless he was getting paid. What else would be the purpose? I think that this character is one of the easiest because he is in such few parts/lines of the book. If the book were in just the Clown's point of view, we would know nothing that is going on.

3.

Othello

Othello started off a normal life when he was a kid. When he was about 10, he was taken and forced into slavery. He fought in the Venetian army for the last 15 years and slowly rose in rank, showing his skill in fighting and military tactics. That is what led him to become what we now know as The Moor. He has since gained his freedom and, as we know is still fighting for the same people that enslaved him. I think that even though these experiences are broader, it puts in perspective how someone in his position would think. To me, it seems like he has learned to be calm or passive to people (at least in the beginning of the book). I think that this helped him in our scene because he could have flipped out or even just have not talked to Brabantio about it. He actually got Desdemona to confirm it and I think that this helped him win over Desdemona even though Brabatio doesn’t approve.

4.

1.                   I am going to try to speak in the accent that Othello had in the audio. It adds a foreign feel to him because everyone else speaks similar except Othello. For my movement on the stage, I am going to have a different posture. I want to make him look powerful because he is the moor and he has killed many people. Since Desdemona and Othello are in love, I am going to show that by holding hands and stuff.

2.                   I am going to use a sword. Its actually not going to look like a sword that much since it is an umbrella. I think that it shows Othello’s power. It kind of shows that he is a good person because he has the power to kill Brabantio and just take Desdemona but he doesn’t. Another prop that I was thinking about using was a crown but I don’t have one or know where to get one. Also it really wouldn't make sense because he is not a king or anything.

3.                   I think that Jenny's role as Brabantio is really good. So far in our practice, she has done a good job showing Brabantio's anger and sadness. She gets in my face and I think that it adds to it standing out. We worked a lot of work on our movements, accents, and what we will be doing on the stage while we are talking (or not talking). We also have to assume what people are doing when they are not talking. For example in the script, it says Iago enters but he doesn’t talk so we assumed that he was sneaking.

5.

1.                  “If you do find me foul in her report, the trust, the office I do hold of you, not only take away, but let your sentence even fall upon my life.”

                  This quote shows that Othello has nothing to fear about Brabantio. Desdemona actually likes Othello. This line let me know just what I said. Because of this relaxed environment, I don’t need to have my sword drawn and I can have a relaxed posture. The way I said this line was in a serious tone, but with a little relaxation because he doesn’t need to worry about anyone in the scene trying to kill him.

2.            I think that the performance did go as I expected because we practiced the play like 10 times so we knew what to do. One thing that was not expected was one of our group members not at school but that didn’t really throw us off because that person’s part was small. I am proud of Jenny’s part. In my opinion, she was the best actor out of all of us. Arshelle’s part was also good because of how she read it and also her movements (pacing back and forth, etc).

3.            Acting out the play obviously made me understand what was going on in the part of the play we had. Also seeing how the characters might act like and also what they might look or stand like. One thing that I learned from this is a deeper understanding of how Shakespeare writes. I think that if I were to read another book or play by him I would be able to understand it better because of these classes. 

Journal #1

Iago - Act II, Scene III

And what’s he then that says I play the villain?

When this advice is free I give and honest,

Probably to thinking and indeed the course

To win the Moor again? For ’tis most easy

The inclining Desdemona to subdue

In any honest suit: she’s framed as fruitful

As the free elements. And then for her

To win the Moor—were’t to renounce his baptism,

All seals and symbols of redeemed sin,

His soul is so enfetter’d to her love,

That she may make, unmake, do what she list,

Even as her appetite shall play the god

With his weak function. How am I then a villain

To counsel Cassio to this parallel course,

Directly to his good? Divinity of hell!

When devils will the blackest sins put on,

They do suggest at first with heavenly shows,

As I do now: for whiles this honest fool

Plies Desdemona to repair his fortunes

And she for him pleads strongly to the Moor,

I’ll pour this pestilence into his ear,

That she repeals him for her body’s lust;

And by how much she strives to do him good,

She shall undo her credit with the Moor.

So will I turn her virtue into pitch,

And out of her own goodness make the net

That shall enmesh them all.

Iago here is speaking to himself, but could just as easily be speaking to a crowd or a single person. He is speaking about his plan and about Desdemona. Here Iago is trying to rationalize his plan with his conscience, which can transcribed to several audiences by putting emphasis on several sections of the speech, particularly the first half. The actor can show this by putting a questioning spin on the first half of the speech to show that he is talking merely to himself, and a kind of arrogant twist to the first half if he wants to be speaking to an audience. The second half of the speech is where Iago has successfully justified his plan in his mind. This part of the speech is confident and assured. Using hand and body gestures here would increase the drama and add a satisfying surety to Iago’s words. The tone of the speech overall shifts from the first half being unsure and faltering, questioning, to a tone that is encouraged and sure.

Journal #2

Cassio

Cassio appears in several important scenes. He appears in Act II, Scene III, where Iago plans to get him drunk and to lure him into a fight with Montano. He is not told what Iago’s plan is, obviously, and is successfully tricked. He personally sees that Iago is his “friend” and attempts to drink with him. He takes this as a sign that Iago wants the best for him, when he really is being just as deceitful towards him as Othello. In Act III, Scene II, Cassio talks to Desdemona about getting reinstated and getting his position back. He unwittingly and unwillingly falls right into Iago’s plan. He is told by Iago that the best way to Othello is through Desdemona. If we just concentrated on Cassio’s scenes, Othello, or rather Cassio, would be a tale of frustration and confusion. Cassio does not know what is going on, and has no way to. I think that the story of Cassio is not as interesting as it is frustrating.

Journal #3

When Iago was a young boy, he was diagnosed with leukemia. They could not treat leukemia in those days, so Iago’s mother went to a witch doctor, a Moor. “I can save him. But it will be at a great cost.” Iago’s mother was so determined to save his life that she said she agreed to everything and anything. “Ok,” said the witch doctor, “Let’s begin.” She told them both to lie down next to each other and to relax. She mixed a potion and poured it over Iago and his mother. Suddenly, Iago felt relaxed, he felt calm, he could begin to feel his body recovering, his bones began to strengthen. “Mother, I can feel it working!” he exclaimed. But there was no response. He looked to his right, and saw his mother, cold, no life in her eyes. “NOOO!” he exclaimed dramatically. The price for his life was the life of his own mother. “I’ll kill you! You villainous Moor!” He screamed. From that day on Iago hated all Moors and vowed to be mean to one one day.

Journal #4

The tone of voice, body language, and movements I want to portray Iago as having are those of a villain in power. He is sly, he is demanding, he is confident but sneaky. I think that he holds his chest up high but slouches. He is like a rat, a soldier rat, but a rat still. Iago is not going to have a prop or costume, I think that the body language relays all that I need him to say, and that a costume would distract from this image of Iago. I am however going to bring Othello some props. In our scene has a headache, and I will bring in some “Ye Olde Orange Juice” and some “Ye Olde Aspirin.” Our presentation is going to stand out through a combination of great acting, confidence, and interesting portrayals of each character in their turn. I think that this will be a very fun performance to be involved in. I hate acting, though.

Journal #5 - Post Performance

“I will in Cassio’s lodging lose this napkin. Trifles light as air are, to the jealous heart, confirmations strong as proof or wit.” This line is very important to the play and to our scene. Iago often reveals some plot twist, plan, or scheme of his through lever words and delivery. I think that here Iago is more talking to himself than the audience, but regardless, he is explaining how Othello’s jealousy will cloud his judgement. He is playing on emotions as if they were a harp, using his skill set, (trickery, a sly tongue, and a black heart), to control others. Without this scene in the play, the audience would not understand how Iago’s plan will fit together. He shows us that jealousy is a powerful and dangerous weapon.

I think that our performance went quite well. Although the mechanics were not always there, the flow of the scene went as expected, which is all you can really hope for with lightweight actors such as myself. Will and Penelope did a great job, actually. Their performance was convincing and funny. Tytianna and I did not speak as loudly as we had planned, but we pulled through and finished our scene strongly. If I could do the scene over, I would have remixed it. I imagine Othello as a Rastafarian wielding, chilled out man, Desdemona as a sort of princess, Emilia as a sort of wise and clever maid, and Iago as a sleek, devious type. Seeing as none of this would be probable with our level of experience, I don’t think this would be possible. It would be fun to do, though.

By performing the play and analyzing the characters in order to play a more convincing role, I think my understanding of the play increased ten fold. The character sheet really helped me a lot. That was definitely the most interesting and engaging part of the experience. Performing the play helped me to get inside of Iago’s mind. I had to create motivations and a whole new mindset for myself in order to portray him well. This overall was a very fun and engaging project. You should do it again next year.

    B. Explain how you found negative space in 1. your cut out?, 2. in your still life drawing?

    C. Why does it help an artist to see in negative space?

    D. Does seeing in negative space enhance drawings, why or why not?

Shakespearean Journaling
Alex Marothy

5-1-13

Journal #1: Me, Him, They

(Thinking aloud to himself)

And he grows angry. Now, whether he kill Cassio

(Here he addresses a higher power, wondering aloud what the future could hold)

Or Cassio him, or each do kill the other,

Every way makes my gain. Live Roderigo,

(Now, still directly addressing himself, also indirectly lets the audience in on the secret)

He calls me to a restitution large

Of gold and jewels that I bobbed from him

(Now speaking directly to audience, explaining his theft)

As gifts to Desdemona.

It must not be. If Cassio do remain

He hath a daily beauty in his life

That makes me ugly. And besides, the Moor

(A self-reflection that seems to be directly to himself)

May unfold me to him—there stand I in much peril.

(Again to a higher power, pondering the consequences of his possible inactions)

No, he must die. But so, I hear him coming.

(To the audience, finalizing the plan)

In this soliloquy, Iago addresses multiple players in this tragedy. In the act of finalizing his treacherous scheme to the audience, he reflects upon himself and ponders aloud to a higher power. He indicates speaking to the audience by making clear statements suggesting direct actions, almost a step-by-step procedure, and may in this case turn his gaze out from the stage. To himself he speaks as if no one is watching, choosing such words as to observe his emotions, possibly indicating this by gazing at his hands, the floor, or something personal. When speaking to the heavens, his statements seem almost questions, quizzical in their deliverance, as if wondering aloud for an answer he does not yet have. He most likely would convey this by cocking his head to the side, or even gazing upwards.

Journal #2: The Man, The Legend, Cassio

Michael Cassio:

Act 2. Scene 1: Cassio welcomes Desdemona

Act 2. Scene 3: Cassio gets drunk and fights Roderigo

Act 3. Scene 4: Cassio gives up on Othello's love

Act 4. Scene 1: Cassio is tricked by Iago into furthering the belief of his scandal to Othello

Michael Cassio observes a series of misadventures inspired by wrong turns he believes himself to be making independently. From drinking too much and losing Othello's love, to fueling the Moor's rage and desire for bloodshed, he has clearly made some mistakes. However, these mistakes are not the shortcomings of an honest man, but the trickery of an evil one, Iago. Cassio is constantly falling pray to Iago's deceptions, being influenced to over-drink, and becoming subject to attempts of murder.
In the midst of this tumultuous trickery, Cassio is infatuated with the allure of women. Desdemona is an angel in his eyes, and he hangs on her every word. Unfortunately for Cassio, this past time of speaking with Desdemona fits almost too perfectly into the villainous schemes he knows nothing about. 
By observing the events unfold from Michael Cassio's perspective, we see he is but a poor, honest man, just another pawn in Iago's games. His motivation stems from Othello's pride and love, while he turns a blind eye to his own manipulation.

Journal #3: The Tale of Iago

One midsummer's day, a long time ago, a boy was brought into the world. His mother, Lady Macbeth, birthed and raised him, guiding him along the way. In his childhood years, Iago loved to run and play, and was know frequently erupt into dance at the sound of music. Clearly a jubilant little fellow, he brought joy to everyone he met, and blessed his small, Venetian town with delight. 

Upon his adolescence, however, things seemed to take a turn for the worse. His mood sullen, his attitude altered, and his demeanor inverted. Little did his company know, his mother had been manipulating him for quite some time. They would spend hours in the study each night, practicing the art of deception. As a teenager, he was felt to be the 'sly fox' of his peers, constantly conceptualizing some new mischievous scheme.

These themes of deceit and duplicity he carried with him to adulthood, reflecting his mother in the eyes of his enemies. After lying and deceiving  all his life, he knew naught but that. His path lead him to a man named Othello, and a position in the militia he would soon regret.

Journal #4: Action Plan

As Iago, I hope to convey a sarcastic and sardonic attitude. My body movements, while slight, will indicate that I am a snake creeping the tall grasses of Othello's mind, swaying and bending him to my will. My voice will slither through the air, a suggestive tone painting pictures of blood. Without direct and blunt presentation of facts, I will sneak into other characters' minds, poisoning their hearts.

My Iago will be fully equipped with a tiny snake-pet on his shoulder, to enforce the simile that he is sneaky like a snake. A fitting prop that will magnify the audience's view of Iago, especially in my assigned scene, and observe him as a cunning, yet devious mastermind.
My group has strived to create a presentation that will stand out from the others through precise action, and delicate tonalities, finalizing a product that explores Iago and Othello's relationship in a tactful manner. Also, half of the group will be off book! Something that will surely add to the reality of the play.

Journal #5: A Reflection on Performance

Iago: If it be that, or any that was hers, it speaks against her with the other proofs.

In the delivery of this line, Iago pushes Othello over the edge, and reveals to the audience his increasingly devious nature. He merely suggests, in a sly manner, of Desdemona’s many wrongdoings, only skirting the edges of her crimes. By speaking in subtle fallacies, Iago allows Othello to paint a picture of scandalous adultery. My personal delivery of this line suggested just that, allowing Othello’s actor to clearly demonstrate his disgust-inspired rage.

Personally, I believe my group performed admirably. Through thorough planning and multiple practices, we were able to create a beautiful final product which was both fluent and efficient. Every move was choreographed, every emotion believed, and every character embodied. I can singularly say that the scene seemed to come alive while in the midst of it, making our performance that much more powerful. I am so proud of the time we dedicated to the scene as a group, and the level of commitment with which we approached it, as well as my resolve to memorize the lines, and personify the character. If I were able and required to do but one thing differently, I would have pressed my group members to memorize their lines as well, and hope for an even smoother performance. This being said, other members did explicitly well in embodiment of the character, causing me to observe unseen inner passion in their performance.

The culminating performance did little to improve my comprehension of the play, for I have always understood it well, but it did open my eyes to other things. I can see how this process would help the comprehensibility of the story, for solely in reading lies confusion for the infant. In terms of someone’s first meeting with Othello, aspects of the plot are understandably difficult to visualize, especially with Shakespeare’s often unfamiliar language. Watching and even being part of a play surely helps one to grasp nuances that would otherwise have been missed, existing naturally as it was meant to be.

In my cut out I found negative space in my cut-out by cutting out the dark gray parts of the template and making those shapes one color on one side, and the other color on the other. I did the same with the lighter parts for positive space, and made sure that the negative, and positive space shapes were opposite color on either side.

It helps an artist to se in negative space because then the artist can separate the object from the rest of the space. It also helps make the object stand out. 

Seeing in negative and positive space does enhance a drawing because it makes the drawing stand out. The positive space stands out from the negative space. 

"I have rubbed this young quat almost to the sense, 

And he grows angry. Now, whether he kill Cassio

Or Cassio him, or each do kill the other,

Every way makes my gain. Live Roderigo,

He calls me to a restitution large

Of gold and jewels that I bobbed from him

As gifts to Desdemona.

It must not be. If Cassio do remain

He hath a daily beauty in his life

That makes me ugly. And besides, the Moor

May unfold me to him—there stand I in much peril.

No, he must die. But so, I hear him coming."------Iago (Act 5, Scene 1)

In the first four lines of this soliloquy (except, "Live Roderigo"), are spoken to the audience because these lines are the hints to the next proceeding plan of Iago. These lines gave the audience background info that they need to know in order to get a clearer understanding of Iago’s plan. These lines are his thoughts about the next step of the plan, it would be unnecessary if he talked to himself about it, because he already knows what is going to happen next. It is common sense that he is talking to the audience as Iago allows the audience experience the tension of the play as his evil plan proceeds to another level. Aside of a small section of this soliloquy to be toward the audience, a large portion of the soliloquy was targeted toward himself, Iago. The thoughts of the character reflects upon the situation he was in. Iago was analyzing Cassio and Rodrigo as the actor puts himself in Iago's shoes. It is in a  psychological state now. This portion of the soliloquy was the most personal thoughts of the Iago himself. The last line, "But so, I hear them coming," is to shift the focus from himself to the audience. This line is also a stage direction and an attention shift for the audience to know that Cassio will soon enter the stage. Aside from the target audiences, the actor needed to face in each portion o the soliloquy, stage directions are also important. For example, 

"I have rubbed this young quat almost to the sense, 

And he grows angry. Now, whether he kill Cassio

Or Cassio him, or each do kill the other,

Every way makes my gain.”

In this portion of the soliloquy,  Iago refers to Othello as a “young quat.” It means that Othello was so easily to be tricked into the plan like a young child. Iago thinks that the plan proceeds well and he could absolutely get what he expected from his plan. When the actor said these lines, he should act fulfilling and have a delighted facial expression. In the quote, "Every way makes my gain,” the actor should show Iago's confidence and cocky attitude by putting more power on the word, “I.” But, the actor should feel cautious after the short delightfulness as he then, put doubts in his own plan.  

"Live Roderigo,

He calls me to a restitution large

Of gold and jewels that I bobbed from him

As gifts to Desdemona.

It must not be."

This portion of the soliloquy means that Iago wants to kill Roderigo because Roderigo was a witness and his acquaintance. He was worried that Roderigo would told Othello about his evil plan because Roderigo suspects that Iago didn’t gave his jewels to Desdemona. So, in this moment, the actor should feel a bit anxiousness once he said, “Live Roderigo,” and continue with a softer tone that conveys a sense of wariness. The actor should said the line, “It must not be” with a louder voice because it would attract more attention of the audience as Iago proceeds to another character, Cassio.       

"If Cassio do remain

He hath a daily beauty in his life

That makes me ugly. And besides, the Moor

May unfold me to him—there stand I in much peril.

No, he must die."

The last five lines of this soliloquy means that Iago want Cassio to die because Cassio’s handsomeness and his honesty would make Iago, himself, look bad. Cassio would be an obstacle for Iago because Cassio may have a chance to clear up the misunderstandings between Desdemona and Othello. During this portion of the speech, the actor need to read the lines faster during the second to fourth line. Then, the actor should stop with a short sigh. After, the sigh, the actor should said the last line in a strong voice that expresses his [Iago] confidence and certainty of his plan.

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Journal #2: Secondary Character (Emilia)’s Views on Cheating Compared to Desdemona, and Strategies to Analyze Minor Characters 

"In troth, I think I should, and undo ’t when I had done. Marry, I would not do such a thing for a joint-ring, nor for measures of lawn, nor for gowns, petticoats, nor caps, nor any petty exhibition. But for the whole world? Why, who would not make her husband a cuckold to make him a monarch? I should venture purgatory for ’t." Emilia-----(Act 4 Scene 4)

In certain circumstances, Emilia believes that cheating is appropriate. She will not do it for objects of value but only for the sake of her husband. It shows that Emilia wants to win back Iago's love, even if she need to sell off her body to other men. In her heart, she doesn't really cares about the shame or the consequences that might put on her husband's reputation. Emilia only cares about her love for Iago, even if it is the wrong path to go or in turn, make Iago and her relationship worse.  As long as she knows that what she did is right for the sake of Iago’s love, she doesn't care. She will blindly follow the path she choses. Emilia believes that cheating is just a weapon to bring up her husband's position, rather than a ugly selfish practice. But, Desdemona had a totally different and innocent viewpoint than Emilia. 

"I have heard it said so. Oh, these men, these men!
Dost thou in conscience think—tell me, Emilia—
That there be women do abuse their husbands
In such gross kind?"-------Desdemona (Act 4, Scene 3) 

Contrast to Emilia's perspective, Desdemona will not cheat on Othello for any particular reason and she was so native to even be surprised to know that some women cheated on their husbands. I think this is the cause of the true love between Desdemona and Othello that made Desdemona have such native thoughts as she is, herself, dwell in Othello's love. Therefore, she doesn't have thoughts of ever cheating on her husband. In Desdemona’s eyes, she sees Othello as a kind husband and she put every husband in the world as to have the same kindness as him. On the other hand, Emilia have thoughts on cheating on Iago because her marriage with Iago was already cold. 

Based on the a character viewpoint on my secondary character’s standpoint on a single idea, I could understand the character's motivations better when I concentrated on the huge contrast between my secondary character to the other characters. Also, the character’s "aside" scenes reveal their true character. I could contrast and compare of what the character thinks and what he or she actually said to other characters in the story, in order to analyze this character in depth. 

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Journal #3: How does Othello’s past life influence the story?

My role in the play,“Othello,” was Othello. He was a Moorish general and was in charge of the war in Cyprus. In the beginning of scene one, Iago and Roderigo expresses their hatred toward Othello because of his race and his ill decision to let an inexperienced soldier, Cassio to be their commander. Othello’s favorite person was Desdemona because she doesn’t mind Othello’s race and eloped with him. During the years of Othello’s marriage or before, Iago suspects his wife, Emilia has slept with Othello and seeks for revenge. Iago set up an plan to make Othello believe that Desdemona was cheating on him. Othello fell into Iago’s trap as Iago had shown evidence of Cassio and Desdemona’s affair. Othello then, strangled Desdemona. 

Ones’ past life influence a character’s personality and behavior because both Othello and Desdemona are people with a pursuit of love. Though undergoing with hardships during their marriage and their acceptance in their own society, they are still together. If they were to betray each other then the "hurt" will be stronger than couples who have a smoother marriage. So, when Othello was suspicious about Desdemona's betrayal, he is is blinded by only on the love that will end instead of if Desdemona really cheat on him or not. Since, he was a Moor, he have more than enough reasons for why Desdemona would cheated on him. He probably also thinks that the only person who won't mind of his race would actually one day finally felt that his race will made her look bad, be an heartbreaking betrayal than any other. To Othello, Desdemona didn't also betrayed his love but his race as well. Othello believes the fact that Desdemona gave their token of love to Cassio is a great dishonor toward their love. A love that could be easily thrown away or disappear. So, he didn't act a little suspicious as Iago said that Desdemona cheated on him. 

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Journal #4: Preparation for Scene Eight Performance 

During my performance in Scene eight of Othello, I had a lot of emotional, mental, and other aspects that I would add between the lines to fully portray my character, Othello. For example, after Othello killed Desdemona and Emilia storms in, Othello said, "That! What?" As Othello, I would sound puzzled and panicked about Desdemona’s cry because Othello was certain about her death before Emilia came into the room. So, I needed to feel panicked with the word “That.” But, I also want to distract Emilia from seeing the dead Desdemona. 

Hand gestures, such as a huge amounts of finger-pointing are essential to this scene. For instance, when Emilia said, "O lady, speak again! Sweet Desdemona! O sweet mistress, speak!" I would point to Desdemona when I said, “She turn'd to folly, and she was a whore,” because I want to addressed the audience that I was describing Desdemona. Since, Emilia was unconvinced about Desdemona’s affair, Othello would said this line with an angry tone. I would stressed out the word, "she", "false" and "water" in the line, “She [Desdemona] was false as water,” in order to make these three words stand out because Othello want to make his point more convincing and urgent to Emilia. 

I will pause between, "Thy husband" and "knew it all." to create a highlighted point or focus that the audience should pay more attention to in the following things that will be happening in this scene. I will walk forward when I say, "Thy husband" to Emilia.

I will speak toward to the audience when I say, "an honest man he is." and look at Desdemona with a disgusted face when I say, "hates that slime that sticks on filthy seeds." Then, I would express a sense of frustration when I say, "He, women, I say thy husband; dost understand the word?” I will place my hand to my chest while saying,"My friend," and  points to Emilia when, I said, "Thy husband" and spread my hands wide in the air, when I say, "honest, honest Iago."

When I say, "Ha!" I rolled my eyes and turn my back towards Emilia. During this scene, I will use a sword as a prop. I point my sword towards Emilia when I said, "Peace, you were best." When Emilia backs toward the sword, I need to act surprised and frustrated. . With all of these preparations, there are certainly things that stand out. For example, the moment when Othello and Emilia will argue while walking around Desdemona. Also, the time when Emilia will act fearless while she is walking toward Othello's sword was a powerful moment for Emilia. Some great components to the scene was the fact that our group have speaks to multiple audiences. For example, "Out and alas, that was my lady's voice." will be toward the herself. The phrase, "Help!Help! Help!" will be toward the the people outside of the room, and the sentence, "speak again Desdemona,....speak." will be the Desdemona. I am noticed that Emilia is fearless while Othello put his sword tip toward her. So, I want to act like I was falling back (walking backward) while Emilia is approaching forward. This represent a sense of power for Emilia and a sense of cowardice toward Othello to point a sword on a women. 

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Journal #5: After the Performance 

During the scene when Emilia found out that Desdemona was killed by Othello because of Othello’s jealousy and her husband, Iago’s evil plan, she said, “Thou hast not half that power to done harm as I have to be hurt. O gull! O dolt! As ignorant as dirt! Thou hast done a deed, I care not for thy [Othello] sword. I’ll make thee known, though I lost twenty lives.” This quote shows how loyal Emilia is with Desdemona. Even though Emilia wants to put lesser distance between Iago and her relationship. She didn’t think twice about betraying Desdemona and stand on Iago’s side. This action shows that she was a women who stand in the right and doesn’t took personal matters in distorting the truth. In the performance, I want to show Emilia’s fearless and loyal side by giving her a stronger presence than Othello. I gave advice to Imani, casting as Emilia, to slowly walked forward while I, as Othello, backs off with a speechless and surprised expression. 

This quote also shows Othello’s state of mind after killing Desdemona. The fact that Othello strangled his beloved women (even if he suspects Desdemona to be cheated on him), but he also point a sword on Emilia. As a warrior, Othello puts his sword, a weapon to kill furious men on the bloody battlefield to a defenseless women. It shows that he is in a state of frustration and he totally lost his audacious former self to his jealousy. This is important because it shows just how deep Othello fell prey to the “green eyed monster.” It was a huge transformation of Othello’s former self to his dark side. When Emilia said the line, I need to be confused because I believed in Iago, so Emilia’s views are alien to me. I backs off, not because of Emilia’s sworn upon her life that Desdemona was not guilty and Iago is the mastermind of the tragedy, but because of Emilia’s fearless attitude in Othello’s presence. 

My group’s performance goes well in some aspects. I [Othello] tried to put on a surprised face when Emilia moves toward my sword. This is a breakthrough for Emilia’s character in past plays. Aaron (the Shakespeare instructor) said that he never saw Othello being backed down by Emilia before. Some of the things that doesn’t go as expected was the position of the characters. When, Emilia enters the door, I actually bumped into her because the setting of our rehearsals was in a different place. Some things that we are proud of was the emotions and the tone of our voices. For example, when I said, “She [Desdemona] was false as water.” I said it in an angry and eager tone because Emilia was in disbelief to the fact that Desdemona was unfaithful. But, he still wants to make Emilia believe what he believes. As for Emilia, she talked to different targeted audiences in one sentence. For example, when Emilia said, “Speak, Sweet Desdemona, Speak!” She was talking to Desdemona. When she said, “Help!Oh! Help!” she yelled to the people outside of the room (toward the door). 

The things that could be done differently in the scene was that I could put in more emotion and reactions when Emilia is saying the opposite of what Othello expects and intended to hear. I should put my hand on my forehead when I was irritated by Emilia’s unreasonable arguments.           

The play let me understand more about Emilia. Her loyal personality was not what I expected as Iago’s wife. Before the rehearsals, I thought that Emilia will be on her husband’s side when she found out that Iago was behind all of the abnormalities and the death of Desdemona. Since, she claimed to sacrificed her body in exchange for her husband’s future. It, then seems like Emilia was centered around Iago’s affections throughout the scene. But, during this scene Emilia actually stand to what is right and actually was vey loyal to her mistress.