Email this article to a friend To send a link to this page you must be logged in. How did you get into acting? Before that, I was en route to doing medicine and then took a complete U-turn and joined the National Youth Theatre.
Technical Note Othello is a huge trompe-l'oeil and its aesthetics baroque with its opaque transparencies, its curves and counter-curves, its initiated visions, its sombre recesses, its intricate and baffling entanglements of by-paths and blind alleys, which altogether form a vast labyrinth in which the Moor, as much as the other characters, all too readily lose themselves.
Under Iago's impulse, the stage becomes a catoptric set-up, engendering all sorts of fallacies or chimerical visions, alternately multiplying, substituting, inverting, enlarging, reducing, dilating, contracting shapes, which eventually connects to the themes of teratology and the grotesque.
Pertaining to Iago s monologue poetics and a major feature of mis perception is Iago's strategy of liminality, by which he conducts his victim s to the door of perception, whether visual or verbal.
The dramatic text propounds a most stimulating association in the opening act of the play between Iago and the Roman two-faced god, Janus bifrons, by whom the villain swears: Iago is indeed, like Janus, the guardian of doorways and thresholds, leading Othello -- as much as other characters -- to the threshold of the visible and keeping him there; the god of beginnings, initiating the perception only to repress it; placing Othello in the ambiguous margins of the visible and of the audible.
Othello is going to try and walk through the door of Desdemona's bedchamber to discover his wife's shameful adultery, a chamber of which Iago's wife, Emilia and indirectly Iago himself seems to have the guard, as shown in Othello's words to Emilia: Some of your function, mistress, Leave procreants alone, and shut the door, Cough, or cry hem, if anybody come; Your mystery, your mystery: We ha' done our course; there's money for your pains, I pray you turn the key, and keep good counsel Having analysed elsewhere this concern with the structural and poetical prominence of doorways in the dramatic text,  I was fascinated to find the threshold motif so lavishly displayed in Oliver Parker's film adaptation, which is the focus of the present Iago s monologue.
Russell Jackson, who worked as literary advisor to the film director, indicated to me that Oliver Parker had indeed been particularly concerned with "entrances, doorstep hesitations and lurking by windows," in the thriller or "film noir" tradition. Parker's perceptiveness about the play's aesthetics and poetics is perfectly congruent with the Janus prosopopoeia, which is some kind of "mythological rhizome," or subterranean plant stem, making its way horizontally under the surface of the text, and now and again shooting upward and showing through, as in Iago's explicit allegiance to the Roman god.
Such use of doorways is persistent in Parker's film. When the Moor calls for Emilia in the aforesaid scene, in which his actual words equate Emilia's office with that of a janitor same etymology as Janusfurnished with a key and presiding over ingress and egress, she actually enters the bedroom at once, as if she had been waiting behind the door, just outside the bedchamber, and as if her function were indeed that of doorkeeper.
In the same film, it is striking to notice that Iago is repeatedly stationed on a threshold, between inside and outside, often ushering the characters in and out. At the beginning of the second act, when Othello arrives on horseback, some time after the other characters, having been kept behind by the raging storm, Iago is loitering by the entry to the citadel, and as a true and dutiful servant ushers Othello in, walking by him alongside his horse, and holding the animal after the Moor has dismounted to embrace his new spouse.
Unexpectedly Iago appears surreptitiously behind him, as if he had been lurking there, and remains for a while in the doorway of the palace with his eyes on Othello before joining him on the beach. RealMedia, K ] This is immediately followed by Othello's mention of the "hinge": Make me to see't, or at the least so prove it, That the probation bear no hinge, nor loop, To hang a doubt on III.
If imputation and strong circumstances, Which lead directly to the door of truth, Will give you satisfaction, you may ha't One might further notice that the setting involves two gateways, and Othello rushes through the first open door only to find a few yards further another gate, set in the outer wall of the citadel, shut.
Othello fuzzes out of focus in the second doorway while Iago is foregrounded on the first threshold. This perspicuous use of gates is suggestive of Othello's frantic urge to throw that forbidden and inaccessible "door of truth" open.
He ends up his precipitous walk in the open, on the open beach and in the open air, away from the circumscribed and claustrophobic space of Iago's "close denotements.
Iago is revealed standing motionless just outside the door, on the side by the doorjamb, a clean towel on his folded arm.
Then Emilia, looking steadfastly upon Iago, still on the threshold, comments with bitter disillusionment: They are all but stomachs, and we all but food; They eat us hungerly, and when they are full, They belch us III.
After a brief moment, Iago, with his eyes still on Emilia, closes the doors upon himself, with the sense that he keeps behind the doors at the entry of the bedchamber, as doorkeeper or janitor.
Iago had been seen hanging in a doorway, with a towel folded on his arm, behind Othello, like an obsequious valet, at the opening of the armory scene III. RealMedia, K ] oAt the end of the play V. Then as he tries to sneak out through another door, he falls upon Montano and some other soldiers who lay hands upon him.
At this point the camera adopts Roderigo's point of view, distorting the image. This is suggestive of the mis perception motif at work in the tragedy: Gaze and reality coincide at last for Roderigo who points accusingly at Iago before passing away.
RealMedia, K ] From standing spatially on the thresholds of houses, at the doors, Janus is temporally considered as the patron of beginnings and endings. Parker makes the most of this.(ABU sees ALADDIN walking into the daylight, where there is a parade going leslutinsduphoenix.comN peers over the shoulders of people.
He sees PRINCE ACHMED riding on a horse.) BYSTANDER 1: On his way to the palace, I suppose. in we have a second justification in Iago’s monologue: there is a rumor abroad that Othello has slept with Iago’s wife Emilia.
Generally, an audience must believe what is said in a monologue because the assumption is that the speaker is talking to himself—and what reason would a character have to lie to. Language as Iago’s weapon of choice is important when thinking about how he serves the roles of character, actor, and director.
While Iago is convincing throughout the play for both his victims and often, for his audience, this is not simply because of his decision to directly appeal to the audience and openly discuss his feelings.
The Role of Reputation in Shakespeare's Othello Reputation plays a big role in the play Othello written by Shakespeare.
Iago uses his reputation as an honest man to deceive Othello and everyone else. Shakespeare Othello Iago monologue - Instant Monologues leslutinsduphoenix.com Shakespeare Othello Iago monologue. Men auditioning for villainous roles can use this minute dramatic monologue from Iago, a character in William Shakespeare's tragedy, Othello.
Iago is the secondary antagonist in Disney's animated feature film, Aladdin. He is a loud-mouthed and sarcastic parrot that served as Jafar's henchman during the latter's attempt to rule Agrabah. Iago's primary obsessions are riches and fame, which—coupled with his hatred for the Sultan's.