The Masks of Othello: The Search for the Identity of Othello, Iago, and Desdemona by Three Centuries of Actors and CriticsIn what Norman Sanders has termed [a] now classic study, noted Shakespearean Marvin Rosenberg sets out to discover how the complex, troubled characters of the play have been interpreted by actors and critics from Shakespeare's time to the present. |
Contents
5 | |
16 | |
THE EIGHTEENTH CENTURY | 29 |
The EighteenthCentury Actors | 34 |
THE NINETEENTH CENTURY | 55 |
Kean | 61 |
Macready Fechter Irving | 70 |
Booth | 80 |
The Modern Othello | 145 |
The Modern Iago | 155 |
OTHELLO AND THE CRITICS | 161 |
In Defense of Iago | 166 |
In Defense of Othello | 185 |
In Defense of Desdemona | 206 |
In Defense of the Play I | 218 |
In Defense of the Play II | 230 |
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Common terms and phrases
A. C. Bradley acting action actors actress agony Alger Athenaeum audience Booth Bowdler Brabantio Cassio century character Cinthio's critics Cyprus demona Desdemona dignity dramatic edition Edmund Kean Edwin Edwin Booth Elizabethan Ellen Terry Emilia emotion English erotic evil expressed Fanny Kemble Fechter feeling Forrest Garrick Gentleman grief grieved Moor Hazlitt heart Henry Irving hero honest human Iago Iago's Ibid inner interpretation Irving jealousy Kean Kean's Kemble lago language London look Macready mind modern Moor's moral motivation murder nature noble Othello passion performance Peter Fleming physical imagery pity play play's players playwright praise refined Review Robeson Roderigo Rymer Salvini scene seemed sense sexual Shake Shakespeare Smock Alley soliloquies soul Spectator speech stage Stoll suggest tears tenderness theater theatrical Thomas Bowdler thought tion Tommaso Salvini tragedy troubled Variorum Victorian villain violence visual voice whore wife woman words wrote York