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.

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.

"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.    

Journal #1: 

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?

Before Iago begins talking to himself, he and Othello are talking. Then he begins to talk to himself going on and on about Cassio and Bianca's relationship. He talks about how Bianca is a prostitute and gets clothes and food from being like this. He goes on to say that Cassio gets all fizzy and giggly inside, when she is around. I thought that at first Iago and Othello were going to talk about Cassio and Bianca's relationship together, but then Othello disappears, and Iago is just venting on how he feels about their relationship to himself, he wishes people were there but just wants to get it out. 

Journal #2:

In Act 3 scene 1, Emilia is talking to Cassio and he is begging to speak to Desdemona. Finally, Emilia lets them talk, and they have a intense conversation involving Othello and Cassio's relationships with them, they agree that their husbands are acting weird, for no obvious reason. In the play, Emilia is kind of like an extra person who is just there. She didn't come into the play until like midway through. She was like an extra set of eyes and ears through the whole thing. She always had something to say, and I'm not convinced that people actually care what she has to say and listen to her. She sees everything that is going on first hand, and that gives her a better opinion on it. For the most part, I think that every character sees Emilia the way she sees herself. They see her as annoying and always butting into everything thats going on. They don't hate her or tell her to go away or anything, but they don't listen to her either. They just see her as an extra, like she sees herself, but that doesn't really bother her. When we watch Emilia on her own, I noticed a lot of different things. I noticed her before as like a semi-important person who people really valued and cared for. Although when I looked into her more on my own, my opinion changed. It was so strange that now she came off as a nobody, who really didn't make too much of a difference in "Othello". 

Journal #3: 

Throughout Desdemona's life she didn't have many struggles or things that she had to spend hours trying to fix or figure out just the right thing to say or do. Her dad was always very protective and led her in the right direction for everything. She never had the chance to make her own decisions, so when it became time for her to decide what to do about Othello and the handkerchief she was lost. She wanted to tell the truth but she also still wanted Othello to be able to trust her. She blurted out that she hadn't lost the special gem of his mother in anticipation that she would be able to find it within a timely matter. Unfortunately, she had no idea where it was. If Desdemona was raised differently I don't think she would have ran into a problem like this where she was lost and confused on whether to lie or tell the simple truth to someone who loved her. 

Journal #4:

My character, Iago, doesn't move much, because for most of the scene he is just talking, but towards the end he has to hide and while he is hiding he shouts something that could jeopardize his life, but since he is in hiding, he screams it and is fine. I have to bring in a coin like maybe make a big coin and lie it to my pants so that you can see it. I'm having that coin, because during my part Roderigo is talking about how he has a coin and like a coin purse with it. It's not a big important part of the story, but it's something that adds a relation between the text and the acting. The thing thats going to make my group stand out is that we have memorized most of our lines and we have spent a lot of time going over and over what we are going to do. We have planed where we are going to stand and then where we are going to move throughout the whole scene.  

Journal #5: 

My character, Iago says a lot in our performance and much of it is important but one line really stuck out to me. While he is hiding from Brabantio he shouts “Zounds sir, you’re robbed, for shame put on your gown! Even now, now, very now, an old black ram is tupping your white ewe! Arise I say!” He was tell him to wake up and put his robe on and that now at this very moment Othello (black ram) could be having sex with Desdemona (white ewe). That is important because Brabantio didn’t know about Othello and his beloved daughter, so when he heard this he was very angry and upset. Iago and Brabantio knew each other, so thats why Iago was hiding from him while he was screaming this revealing information. During this whole scene, Roderigo is scared of Brabantio and if very timid, but on the other hand Iago is blankly going out and saying what needed to be said. Though, when he hides and shouts this, it makes it seem like he is scared of what Brabantio might say to him, but really he’s not, he just doesn’t want Brabantio to seem him since he knew him. 

My groups performance did go really well in my opinion, I wish I could have remembered my lines better and not have looked at the paper as much, because I think that would have made it much better, since my other group members memorized all of their lines. Because they memorized all of their lines, it freed them up to move around the stage more and have more emotion and interaction with the audience. Preforming the play really helped me understand better, since I am a visual learner it was easy for me to just watch and act out what was going on instead of just hearing or reading the words. It is much easier for me to understand, when there is interaction and moving and things of that sort of thing it laid out everything in my head for me, because while reading the book in class and listening to the audio, I knew what was going on but I couldn’t visualize anything, but with the acting and the scene I could. 

Journal #1

Act 2

Scene 1

Lines 163-173

"She that was ever fair and never proud, Had tongue at will and yet was never loud, (Iago shakes his hand in a motion when he says "never" -- to indicate he is drawing the line; saying she is never loud) (He is on a rant to Desdemona -- moving all these gestures at a quick pace) Never lacked gold and yet went never gay, (He brings hand around neck as if he had jewelry around him -- to show she was always presentable wearing gold/shakes his hand in a motion when he says "never" (again)) Fled from her wish and yet said “Now I may,” (Iago runs out of breath and takes a slight pause) She that being angered, her revenge being nigh, (He is looking towards Desdemona with a soft, sincere voice) Bade her wrong stay and her displeasure fly, (Iago raises his hand to show the serious emotion he is containing) She that in wisdom never was so frail (He taps his finger on his head -- indicating the brains/knowledge that he is referring to) To change the cod’s head for the salmon’s tail, (He looks at one hand, then looks at the other -- showing the two options: cod's head or the salmon's tail) She that could think and ne'er disclose her mind, (Iago brings his hand to his head again in a stern voice, while making eye contact with Desdemona) See suitors following and not look behind, (Iago continues to be on a rant. He is making motions fast, trying to collect words quickly. He is on the verge of running out of breath) (Iago turns his head around slightly and softly gestures his hand behind him) She was a wight, if ever such wights were—" (He looks at Desdemona and raises voice. His voice becomes stern and solid. He stops in the middle of his sentence because he is interrupted by Desdemona)

Journal #2

Emelia has been in scenes where she usually pops up when certain situations happen. For example, in act 3, scene 1, page 113, Emelia is talking to Cassio. He wants to speak to Desdemona and is asking for permission from Emelia. They end up all having a conversation about Cassio and Othello's relationships. As well as how Emelia and Desdemona's husband’s are acting. Emelia also appears in this scene later on in the play where she is trying to convince Othello that nothing is going on between Desdemona and Iago. In act 4, scene 2, page 193, Emelia and Othello are having a back and fourth conversation about Desdemona. This causes Othello to demand Emelia to bring Desdemona in the room so they can discuss it.

Emelia is trying to be as helpful as possible throughout the whole play. I think she is consistently trying to communicate with her fellow peers about all the situations that came up. She seems to be that extra person hanging around that perfectly ties into the moments when the characters need a second opinion. Or, when Emelia feels like butting into the situations, and speaking her voice. 

I feel like all the other characters can see Emelia as the same thing that she sees herself. The characters communicate back with Emelia and you see some fluid conversations between them in the play. This shows that sometimes what Emelia is saying is relevant. However, they could also see her as someone who isn't necessary and hasn't tied into any of the events.  The characters in the play see her as a very bittersweet character. The things that she says can either help or hurt everyone. This is because Emelia tends too say or do too much or too little. For example, Emelia was pretending that she didn't know what Desdemona was talking about when they were on the topic of the handkerchief, when she should of told Desdemona what was really going on. 

We can try to focus on how she says all the things that she does. I feel like the tone of what she is saying and her body language will come in a lot of use. If Emelia is trying to be secretive, sneaky, and blunt, she might talk in a slow, soft, or low tone. If Emelia is trying to get her opinion across to someone and convince a character (like Othello), her voice might be loud and her body movement might be drastic. Since Emelia is a minor character, I don't think it would be obvious things that give away what she is trying to portray. If we focus on her physical addition to the stage rather than any other factors of her character, that might help us figure out what Emelia is really thinking. 

Journal #3

Cassio was always a fair and sincere man. He always wanted the best for others and tried to avoid drama as much as possible. He tended to never really get what he wanted. He was always chasing after women who had no interest in him. Cassio was consistently turned down by all different types of women. Whether he had friends to support him or even a wing-man, Cassio had no chance. He was always a nice man; sometimes too nice. He never knew what was always right in front of him, whether it was good or bad. He tried to stay away from all the drama between friends and peers but it never really worked out.

  It all started when Cassio fell madly in love with a girl in middle school. Day after day, Cassio would sit and cry over her. The girl had no interest in Cassio from the day she met him. From that point on, Cassio felt that he would never be happy because of this one girl disappointing him. He then assumed that all the others would disappoint him too. Then along came Othello, Desdemona, and the others, which caused him to rediscover what he already knew: disappointment. Before meeting them and after, Cassio saw that he was just someone that was meant to sit in the crowd, watch, and wait till something or someone came his way. 

Journal #4

During my performance as Cassio, I am going to try to act as sincere and heartfelt as possible. Cassio is upset with Bianca in the scene because of the handkerchief. I am going to be making a lot of gasp noises, throwing my hands in the air, and talking loudly yet genuine at the same time. This is because I want to convince Bianca to not leave me (Cassio). 

In my scene, I am going to have a sword with me. The sword represents who I play (because I am apart of the military in the play). Also, in this scene, my actions aren't as dramatic as the others; all I am doing is talking to Bianca. Therefore, the sword is a sweet, soft, yet necessary touch to my role in the scene. I say this because it adds on to  the actual person Cassio is playing. He is a lieuteant. The sword adds some power to his character without the prop taking over and distracting the scene. 

My group's presentation is going to stand out because we have some dramatic conversations going on in our scene. Iago is trying to be sneaky while Othello ease-drops on my conversation as Cassio with Bianca. Bianca is furious with me, and I'm trying to convince her that what she thinks is wrong. Our group has agreed that we all have something dramatic to say, and we are going to use that to the best of our ability. Whether it is with the way we talk, walk, or simply appear on stage; each of us are trying to get our point across to one and other. We are going to use all the tools we learned in class, to bring the scene alive. 

Journal #5

“How now, my sweet Bianca! How now! How now!”. I had a very limited amount of lines. However, this line stood out to me the most because the was the line that I saw and felt the most emotion in. This line gave me a view and hint on how sincere and willing Cassio is as a character. He is really caring, and only wants the best for everyone. He was one of those characters who was noticeable enough to be labeled as a main character yet he wasn’t one of the more dramatic ones. Cassio was always trying to mend situations and be the peace maker. Bianca was really mad at him for the wrong reasons and Cassio was trying his hardest to make sure she didn’t storm out the room. This line showed me his true characteristics that made him who he is. I feel like this line was important in my performance because it gave me a chance to use a lot of emotion. I got to be that character that is basically innocent and is one of the fair players in the game (or in the play as you could say). I delivered this line by acting sad, surprised, and somewhat begging towards Bianca. I was offended and disappointed in her that she was willing to say such foolish things. I was trying my best to make her stay. 

The performance went as I planned. No matter how many times we practiced, there was some characters that lacked emotion more than others. This is what made me think that the show must go on whether they put in the emotion needed or not. Overall, I was happy with the finishing product. I am proud of the effort we all put in and how well we used the time given to use to practice. We brainstormed even the slightest ideas to improve our scene that made all the difference for the better. If I was to do this performance again, I personally wouldn’t of changed anything for myself. I am proud of the way I performed. However, as a group, I would have wanted more emotion and a little more projection in our voices for some of the characters. All in all, I’m happy with what performance I was apart of. 

Performing the play really improved my understanding of the play. Simplifying and compressing the play, highlighting all the main events, really gave me a clear timeline of the whole plot of Othello. I got to see who was the good and who was the evil. I also got to see which characters were more important than others. I witnessed so many different things when seeing the live performances. All in all, it was just helpful because I already knew what was going on in the play before we started acting it out; the live performances just took my understanding to a whole new and improved level. 

Performing Othello - Pierce Luck

Journal 1

That’s not amiss,

But yet keep time in all. Will you withdraw?

-Now will I question Cassio of Bianca,

A housewife 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 un bookish jealousy must construe

Poor Cassio’s smiles, gestures, and light behavior

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

  First, Iago was having an intense monologue with Othello for a couple of lines. Now Iago talks to the audience about how he felt of how he asked Cassio of Bianca.  You can tell he was talking to the audience because he talks about Cassio in a very despiteful way. You know this because Iago isn’t brave enough to confront Cassio he would rather manipulate problems. Also, you can tell that he was because after he's done monologuing about Cassio (it says entering Cassio). There was a couple of pauses to show the importance on the tone in Iago's voice. Finally, In the final piece to the monologue, Iago still is talking about his plan, showing to us that he must be talking to the audience because he wouldn't talk about his plan to his enemies. But you can tell that it quickly changes from audience to Cassio when he directs a question towards him.  

Journal 2

Roderigo  Act 2 scene 3/Act 5 Scene 1

     In act 2 scene 3 of Othello, Roderigo saw a drunken Cassio pursuing to kill him. Rodrerigo was in total fear as he cries, and weeps for help. In this scene, Roderigo is very confused of why Cassio is so angry at him, and so confused on why he wants to kill him. Roderigo saw Montana defending him and from this he was relieved because he was not the one fighting Cassio. He was told from Cassio that he is a villain. Rodrego is a true character who only wants Desdemona's love.  In act 5 scene 1 of Othello, he saw his target Cassio from a far distance away. He took his sword out to kill Cassio. He saw a seemingly trustworthy Iago, behind him for support. He was told by Iago that he will give him back up after he stabs Cassio. But he doesn't know truly why he is attacking Cassio. He was manipulated by Iago's words, and Iago gave him reasoning for it. Iago doesn't care of any of their lives.Rodrego only wants the doesn't want all this violence in his life. 

Journal 3 

  Othello had a hard life as an only child of a single parent household. He went to a royal school academy where he was sort of a jock, but was tormented by his teachers. His teachers didn't like him, and devised a plan to get him suspended and permanently banned from the school. They only true reason behind this was because Othello was a growing proud black man who would grow into power. The teachers knew Othello was easy to persuade, so they tried to take advantage of that weakness.They saw the progression of the young Othello, and knew he would have a powerful role under the Duke.They set schemes and bribed other students to influence Othello into trouble. The temptation was great for Othello but he overcame most of his troubles. As he was always being sent to the Dean’s office, where he had to talk his way out of trouble. But to do this he had to show a lot of confidence and poise in his voice. One of the teachers tried to say that he influenced one of the girls to be his girl-friend which wasn't true. Othello spoke proudly to his teacher that accused him and explained how he got his girl and got the girl to also explain that she loved him. This experience helped him in the play.

Journal 4 

  During my performance, I am bringing a very strong protective voice to the play. I will talk in a way that protects me. In the play I would bow before the Duke, I would use hand motions, I get on one knee to convince the Duke of my innocence, and I also walk off with Nomi (Desdemona) on my arm. I am going to bring a scarf tomorrow for the presentation. I am bringing a scarf because my group and I thought it would fit with my character in this scene. It shows my nobleness. I think our subtle actions and our voices will really make our group standout. We all captured our characters essence in our play

Journal 5

    In the performance I played the black general Othello. I feel that the line,  “I do beseech you, send for the lady to the sagittary, ad let her speak of me before her father: 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 line is important to the play because Othello speaks out of term to the Duke of Venice as he pleads his case. Before he even begin to yell and defend himself from the accusations of poisoning the young Desdemona’s mind to fall in love with him, Othello says I beseech you meaning no disrespect. Right after that line he kind of orders / asks the Duke to send for Desdemona, so he would have proof ad would be able to plead his case in front of the Duke and in front of Desdemona’s father Brabantio.  This scene is important because Othello’s fate is in Desdemona’s hands at the time because Othello said to the Duke that if Desdemona says otherwise than he would take it upon his life and take a death punishment. In the play I first was calm as I was talking to the Duke but my actions and words began to increase in intensity. I began to speak louder to plead my case and I also did many had motions to the crown would know how animated Othello actually was. Our group gave tremendous effort and I thought we played our roles to our fullest potential. We all planned together and it turned out exactly how we practiced it. I’m proud of our delivery in our lines and really taking the roles of our characters. I really wouldn’t do anything differently, maybe I could have just memorized my lines that would have made me capable of doing more actions. Performing the play helped me visual the placing of the characters in the play. Like when Iago was being mysterious he would hide behind something and it was nice to see that live.