Othello-Oral

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Good Morning Fellow Artists for the Dramatic Arts!

We all know the reason for which we have gathered here today and thank you for your enthusiasm in wishing to audition for William Shakespeare’s Othello!

Now, to be able to convey a character perfectly, one must know the culture, society, personality, relationships and various other components to portray the character as realistic as possible. This, you should know, in the dramatic world, is called realism.

Now, you’ve all obviously been inspired by the character of Othello and let me tell you, that if you think it’s a piece of easy work and simply reciting lines; you are completely wrong.

As director of this new production, my board and I have decided to take the approach and shape the production particularly in a post-colonial reading. This means, the role of Othello casts a particularly important and influential figure over the performance.

The post-colonial reading has particularly shaped my view of Othello, in the sense that, culture and power was distinctly shown through this powerful playscript.

The cultural background of this Elizabethan society clearly shows that one race and culture was more preferential than those of diverse cultures. In the military circle, Othello is a well-respected, chosen leader, which must be displayed with clarity, however, socially, his vulnerability and awareness displays that he is less than accepted, ridiculed and definitely not considered as one of the dominant culture.

Throughout Act 1, there are many opinions stated that portray Othello as different, exotic and ‘the other.’ One distinct, short monologue of Iago’s distinctly shows contrast between cultures.

“Zounds, sir, you’re robbed; for shame, put on your gown; Your heart is burst, you have lost half your soul.
Even now, now, very now, an old black ram
Is tupping your white ewe. Arise, arise,
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.
Arise, I...
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