Othello Objective Sheet

Name:_______________________

Othello Objectives
Total Points: _____/ 20

1. A character’s objective is what he or she is after in that scene—the goal. If he/she doesn’t reach it one way, they will try another. After each attempt, there is a “beat change” , a shifting of gears. When the character achieves their objective, there is a beat change, after which he/she has a new objective. A character’s “superobjective” is what he/she means to have by the end of the play.

In bold and simple terms, state the superobjective beneath each of these characters.


Iago Othello Desdemona Cassio




With your partner(s), read 2.1.163 (Beginning with the stage direction where Cassio takes Desdemona’s hand) through 2.1204 (“Once more, well meet at Cyprus). Write down each characters objective in this scene. How should the characters be staged? Write down at least three stage directions for each character.


Iago Othello Desdemona Cassio







With your partner(s), do a round robin reading of 2.1.205-266

1. Read round robin to hear the words, stopping at periods, question marks, exclamation points, and semi-colons.
2. Paraphrase and answer questions about the language. Find out what’s happening?
3. Cast and read again, this time in parts.
4. If needed, cut some lines, but only to make the scene clearer. Double up parts or split them in two if you’d like.
5. Get on your feet and add movement. Let the words on the page be your guide.
6. Rehearse until you can communicate the scene to an audience.

2. Roderigo is at first astonished when Iago tells him that Desdemona is in love with Casssio. How does Iago convince him? Use the text to back up your opinion.




Split the Soliloquy
Two people in your group should alternate lines of Iago’s soliloquy (2.1.267-293) alternating sentences.

3. What does Iago mean when he says of Desdemona “Now, I do love her too”? Explain why you think this.






4. Do you believe Iago when he says, “I fear Cassio with my nightcap too”? Why or why not? Back with evidence from the text.






5. Has anyone noticed particular lines in 2.1 that add to, or change, the impression given so far of any character’s personality?




6. Compare Iago’s soliloquy hear with his soliloquy you paraphrased at the end of 1.3. How has Iago’s motive changed? What is he most focused on at this point? Use specific lines to back your thoughts.







7. Critics have referred to Iago’s “motiveless malignity”. Do you agree that Iago’s “malignity” is fundamentally without a motive?








Extra Credit: Paraphrase, line by line, Iago’s speech starting at 2.1.267. Use your own paper.