Log #1: Add subtext to the “Temptation Scene” 3.3
Log #2: “To Act or not to act” on assignments page.
Log#3: Log entry of choice from the book
Log Entry #4: Whoops, I told you to practice. There is no log entry #4
Log Entry #5 Reflections on your acting and respond to 6 assertions below.
Othello’s real problem is his own jealousy.
It is very important to the play for Othello to be black.
Desdemona is not a spineless woman. She has good sense, stubbornness and courage. She can stand up to Othello for the sake of what she thinks is right, even when he is in a dangerous mood and few people would care to face him.
Desdemona is not angelically pure. The potential for unrestrained desire must be in her character in order for the drama to work.
Iago is not a “motiveless malignity” as he has been called – a devil who does evil for its own sake. He has a thirst for power and the wit to contrive a way to get it. Desdemona’s death is a side effect he did not really intend.
Iago’s cleverness is not total. He builds into the intricate structure of his plot a piece of terrible stupidity; he fails to understand his wife.
Log Entry #6: Reflections on the film version.
Tuesday, January 29, 2008
Friday, January 11, 2008
Log #2: To Act or not to act
Name;________________________
To Act or not to Act: Log #2
For this assignment you will either be acting next class or creating subtext within the script. If you are acting, you will be expected to practice your part to read with emphasis on voice inflection and subtext. If you are acting, for you log simply make notes on how you will be adding inflection and subtext for your character in your section. You will be turning in these notes.
If you are not acting, your job will be to add your own subtext to the script. Take the following pages and add at least 20 lines of subtext. This can take the form of how a line is delivered (“Zounds” Othello shouted with all the anger and jealousy in his heart. His voice so filled with rage it frightened the lurking vultures outside the window (94)) or through actions of the characters (“I’faith, sweet love, I was coming to your house,” Bianca cooed as she sauntered up to Cassio with a tempting look in her eyes (165). Make sure you cite the line to which you are making an addition. After the addition, write what you are trying to show that is not in the lines. You will be turning this in as a log entry.
Company 1
3.4.19-94 (“Where should I lose that handkerchief” through Othello’s exit) Othello asks Desdemona for the handkerchief and rebukes her when she cannot produce it.
Lines: Desdemona, 36; Emilea, 3; Othello 54
Company 2
3.4.95-163 (“Is not this man jealous?” through the exit of Desdemona and Emilea). Cassio again asks Desdemona for help, and she explains that Othello does not seem himself. (Cut the longer speeches of Cassio and Desdemona and be able to provide reason for these cuts)
Lines: Emilea, 19; Desdemona, 38; Iago, 13; Cassio, 18
Company 3
3.4.164-196 (“Save your friend, Cassio!” to the end of the scene). After Desdemona’s exit, Cassio says he has found a strange handkerchief in his lodging. When his lover, Bianca, appears, he asks her to copy the embroidery.
Lines: Bianca, 17; Cassio, 25
To Act or not to Act: Log #2
For this assignment you will either be acting next class or creating subtext within the script. If you are acting, you will be expected to practice your part to read with emphasis on voice inflection and subtext. If you are acting, for you log simply make notes on how you will be adding inflection and subtext for your character in your section. You will be turning in these notes.
If you are not acting, your job will be to add your own subtext to the script. Take the following pages and add at least 20 lines of subtext. This can take the form of how a line is delivered (“Zounds” Othello shouted with all the anger and jealousy in his heart. His voice so filled with rage it frightened the lurking vultures outside the window (94)) or through actions of the characters (“I’faith, sweet love, I was coming to your house,” Bianca cooed as she sauntered up to Cassio with a tempting look in her eyes (165). Make sure you cite the line to which you are making an addition. After the addition, write what you are trying to show that is not in the lines. You will be turning this in as a log entry.
Company 1
3.4.19-94 (“Where should I lose that handkerchief” through Othello’s exit) Othello asks Desdemona for the handkerchief and rebukes her when she cannot produce it.
Lines: Desdemona, 36; Emilea, 3; Othello 54
Company 2
3.4.95-163 (“Is not this man jealous?” through the exit of Desdemona and Emilea). Cassio again asks Desdemona for help, and she explains that Othello does not seem himself. (Cut the longer speeches of Cassio and Desdemona and be able to provide reason for these cuts)
Lines: Emilea, 19; Desdemona, 38; Iago, 13; Cassio, 18
Company 3
3.4.164-196 (“Save your friend, Cassio!” to the end of the scene). After Desdemona’s exit, Cassio says he has found a strange handkerchief in his lodging. When his lover, Bianca, appears, he asks her to copy the embroidery.
Lines: Bianca, 17; Cassio, 25
Thursday, December 20, 2007
12-20/21 2007 Sword Fighting
Lesson:
We performed Othello 2.3
We had a lesson on stage fighting. It was fun.
HMWK:
Have a fun break
Read 3.3
Quiz when you return to class after break
Wednesday, December 19, 2007
Othello Log Entries 1-6
Log 1:1) Why do Iago, Roderigo, and Brabantio hate the man they are discussing?
2. What reasons does Iago give for continuing to follow his master?
3. What kind of person do you except the man they discuss to be? How do you imagine him? Count the number of times the word “Moor” is used in 1.1. Can you draw any conclusions?
Log 2:In addition to your log entry, do this free-writing exercise. Write about a time when you resented someone who received an honor you were hoping to get. How did you feel about the person who received it, and how did you feel about the one who chose the other person instead of you?
Log 3:Describe Othello as you see him in your imagination. Say which actor, or type of actor, you would choose to play the role. Find a picture on-line or in a magazine that resembles your idea of Othello, or draw your own.
Iago swears in line 38 “By Janus.” Janus is a Roman two-faced god. Give examples of Iago’s two-faced behavior. How might an actor convey this?
Log 4: Othello word search
Log 5:Write in your log….your choice. Use the opposite pages with activities for some guidance. Any of these activities will work!!
Log 6: Othello Objective Sheet
2. What reasons does Iago give for continuing to follow his master?
3. What kind of person do you except the man they discuss to be? How do you imagine him? Count the number of times the word “Moor” is used in 1.1. Can you draw any conclusions?
Log 2:In addition to your log entry, do this free-writing exercise. Write about a time when you resented someone who received an honor you were hoping to get. How did you feel about the person who received it, and how did you feel about the one who chose the other person instead of you?
Log 3:Describe Othello as you see him in your imagination. Say which actor, or type of actor, you would choose to play the role. Find a picture on-line or in a magazine that resembles your idea of Othello, or draw your own.
Iago swears in line 38 “By Janus.” Janus is a Roman two-faced god. Give examples of Iago’s two-faced behavior. How might an actor convey this?
Log 4: Othello word search
Log 5:Write in your log….your choice. Use the opposite pages with activities for some guidance. Any of these activities will work!!
Log 6: Othello Objective Sheet
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.
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.
Tuesday, December 11, 2007
Othello Word Search
Names:________________
Othello Word Search
soul honest, honesty heaven, heavenly whore, strumpet
hell love damn, damnation monster
faith hate Moor devil
handkerchief jealous, jealousy
You and your seat partner will be assigned a word form the above list. Note below the line in which the word appears, line number, and who says it in the play thus far. Notice who uses the word—or group of words—most and to pay attention to how various characters use it. Record anything you notice in the space below and on the back if necessary.
Then, at the end of your search come to some conclusion about the cumulative effect of the word and what theme its repetition develops.
For a good example of how this is done read “No Cloven Hooves” by Doris Adler with your partner (no, you do not have to write a six page essay but a page will be good).
Write this analysis for your log entry for tonight and finish reading Act 1, scene 3.
Othello Word Search
soul honest, honesty heaven, heavenly whore, strumpet
hell love damn, damnation monster
faith hate Moor devil
handkerchief jealous, jealousy
You and your seat partner will be assigned a word form the above list. Note below the line in which the word appears, line number, and who says it in the play thus far. Notice who uses the word—or group of words—most and to pay attention to how various characters use it. Record anything you notice in the space below and on the back if necessary.
Then, at the end of your search come to some conclusion about the cumulative effect of the word and what theme its repetition develops.
For a good example of how this is done read “No Cloven Hooves” by Doris Adler with your partner (no, you do not have to write a six page essay but a page will be good).
Write this analysis for your log entry for tonight and finish reading Act 1, scene 3.
Friday, November 30, 2007
Othello On-line
You can find the complete text of Othello here if you ever forget your book:
http://www.opensourceshakespeare.org/views/plays/play_view.php?WorkID=othello&Scope=entire&pleasewait=1&msg=pl
http://www.opensourceshakespeare.org/views/plays/play_view.php?WorkID=othello&Scope=entire&pleasewait=1&msg=pl
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