Othello

Racism in Othello

the fair Desdemona (4.2.224)
an old black ram (1.1.)
a lascivious Moor (1.1.127)
the sooty bosom of such a thing as thou (1.2.70-1)

Othello may prove a painful text for many students. In particular some will find some of the play's frank and forthright racist language demeaning and distasteful. But plays like Othello can be used as tools to explore racism and racist views, both within an historical setting and a contemporary cultural or spiritual context. The play's opening scene, for example, presents an opportunity to discuss a range of emotional issues pertinent to teenagers, e.g. stereo-typing and inter-racial marriage. Othello has much to teach us about ourselves, our lives and our society.

From the Assistant Director Richard Twyman's Rehearsal Diary

week one
Greg [Gregory Doran, the director of the current production] has spoken a few times about the inherent and casual racism that is displayed by virtually all the characters in the play, highlighting casual curses by Brabantio and Iago to show the inherent racism in Venetian society depicted in the play. He also talked about the (potential) racism we see levelled at Bianca (as a local of Cyprus) by Cassio and Emilia. He talked about how, in casting Charles Abomeli (a black actor) as Montano (the Governor of Cyprus), the fact will be highlighted that Montano is overlooked when a new governor of Cyprus is appointed - either because he is a Cypriot or because he is black. Greg also talked about the actor Hugh Quarshie's claim that the whole play is actually racist, interpreting Iago's speech (in 3.3.226-236) as a moment where Othello himself suggests that because he is black he shouldn't be with Desdemona.

Consider the following 3 statements:

1. The theatrical experience is not there in order that the nation should be united: It is there in order to send people out thinking about what is wrong with the world. John Peter in an interview with Graham Holderness in The Shakespeare Myth ed., Graham Holderness (Manchester University Press, 1988) p. 55

2. ...the word 'race' in our contemporary usage does not exist in the plays; indeed, the word only appeared for the first time in English in the sixteenth century, so the range of meanings now attached to it was simply not available in the language at the time Shakespeare was writing. These meanings have gradually accrued since the early seventeenth century, in step with the systematic expansion of British and European economic power overseas. 'Racism' is the corollary of imperialism and colonialism - the racism which denies the humanity of its victims becomes a 'necessity' during periods of violent enslavement, conquest and expansion. Susan Leech, Shakespeare in the Classroom: What's the matter? (London, Open University Press, 1992) p. 81

3. Shakespeare builds the individual traits of the given character on the foundation of race, but the conflicts themselves have nothing to do with race, nation, society, or social group. The conflicts, the emotions are human. They are rooted in malice, pride, virtue, sin and conscience common to all mankind. Abraham Morevski, Shylock and Shakespeare, trans. Mirra Ginsburg (New York, Fireside Books, 1967) p. 6

Othello - a Moor of high rank
Shakespeare's Othello is a military general and a hero. Desdemona was spellbound by Othello's tales and stories of adventures. But to an audience in Shakespeare's day, the notion of a black man of high rank in a European army, married to a white woman with high social standing, may have seemed outrageous:

"With us a Black-amoor might rise to be a Trumpeter; but Shakespeare would not have him less than a Lieutenant-General. With us a Moor might marry some little drab, or Small-coal wench; Shakespeare, would provide him the Daughter and Heir of some great Lord, or Privy-Councillor: And all the town should reckon it a very suitable match."

Thomas Rymer, A Short View of Tragedy (1693) cited in Reinventing Shakespeare - A cultural history from the Restoration to the Present by Gary Taylor (Hogarth Press).

Try this:
1. Allocate all the scenes and ask students to count how many times Othello is referred to as "the Moor" in the play and how often he is called "Othello".

2. In two columns, write down what other people in the play say about Othello and what he says about himself (it will help to make a note of the act, scene and line for each quotation).

3. Draw up a list of adjectives used to describe Othello, making a note of whose phrase it was e.g. "lascivious Moor" (Iago 1.1.127); "Valiant Othello" (The Duke of Venice 1.3.48).

4. Split the class into 6 groups and give each group one of the following questions:

How many racist comments about Othello does Iago make in the play's opening scene?

What impression of Othello has the audience been given before his first entrance at the start of Act 1 scene 2?

Why is Othello often referred to as "the Moor" rather than by his given name?

Why does Iago use racist remarks and the stereotype of the "lascivious Moor"?

Do you think Iago's views represent the views of his fellow Venetians?

How could the play be edited to make the story less offensively racist?

Would a director be justified in cutting lines and scenes to lessen the impact of overt racism? What would be added to the play and what taken away if a director did chose to edit out as many racist remarks as possible?

Discuss each group's answers.

5. Imagine you are staging Act 1 scene 1. Create a director's notebook giving details of:

the kind of playing space/theatre you want to use. The current

production (RSC 2004) is in the Swan Theatre. What difference does

it make to the actor/audience relationship when the audience is on

3-sides? How different would the production be staged in a large

proscenium arch theatre? Or in a small studio space?

the set - would you create an upper playing level for Brabantio?

the lighting - do you want Iago hidden in shadows? The text is full of

contrasting images of light and dark, black and white - will this

influence your staging and the lighting designs? The current

production makes much of the fact that the action takes place in a

hot country.

the notes you would give the actors playing Roderigo and Iago about

how to create mood/atmosphere/tension in the first scene. Refer to

specific lines in the text.

any sound effects you might want.

How would you handle the racism in the play? Would you bring it to the fore it or try to play it down? Give specific examples from the text of lines you might cut or emphasize.


			the fair Desdemona (4.2.224) an old black ram (1.1.) a lascivious Moor (1.1.127) the sooty bosom of such a thing as thou (1.2.70-1) Othello may prove a painful text for many students. In particular some will find some of the play's frank and forthright racist language demeaning and distasteful. But plays like Othello can be used as tools to explore racism and racist views, both within an historical setting and a contemporary cultural or spiritual context. The play's opening scene, for example, presents an opportunity to discuss a range of emotional issues pertinent to teenagers, e.g. stereo-typing and inter-racial marriage. Othello has much to teach us about ourselves, our lives and our society. Greg [Gregory Doran, the director of the current production] has spoken a few times about the inherent and casual racism that is displayed by virtually all the characters in the play, highlighting casual curses by Brabantio and Iago to show the inherent racism in Venetian society depicted in the play. He also talked about the (potential) racism we see levelled at Bianca (as a local of Cyprus) by Cassio and Emilia. He talked about how, in casting Charles Abomeli (a black actor) as Montano (the Governor of Cyprus), the fact will be highlighted that Montano is overlooked when a new governor of Cyprus is appointed - either because he is a Cypriot or because he is black. Greg also talked about the actor Hugh Quarshie's claim that the whole play is actually racist, interpreting Iago's speech (in 3.3.226-236) as a moment where Othello himself suggests that because he is black he shouldn't be with Desdemona. 1. The theatrical experience is not there in order that the nation should be united: It is there in order to send people out thinking about what is wrong with the world. John Peter in an interview with Graham Holderness in The Shakespeare Myth ed., Graham Holderness (Manchester University Press, 1988) p. 55 2. ...the word 'race' in our contemporary usage does not exist in the plays; indeed, the word only appeared for the first time in English in the sixteenth century, so the range of meanings now attached to it was simply not available in the language at the time Shakespeare was writing. These meanings have gradually accrued since the early seventeenth century, in step with the systematic expansion of British and European economic power overseas. 'Racism' is the corollary of imperialism and colonialism - the racism which denies the humanity of its victims becomes a 'necessity' during periods of violent enslavement, conquest and expansion. Susan Leech, Shakespeare in the Classroom: What's the matter? (London, Open University Press, 1992) p. 81 3. Shakespeare builds the individual traits of the given character on the foundation of race, but the conflicts themselves have nothing to do with race, nation, society, or social group. The conflicts, the emotions are human. They are rooted in malice, pride, virtue, sin and conscience common to all mankind. Abraham Morevski, Shylock and Shakespeare, trans. Mirra Ginsburg (New York, Fireside Books, 1967) p. 6 Shakespeare's Othello is a military general and a hero. Desdemona was spellbound by Othello's tales and stories of adventures. But to an audience in Shakespeare's day, the notion of a black man of high rank in a European army, married to a white woman with high social standing, may have seemed outrageous: "With us a Black-amoor might rise to be a Trumpeter; but Shakespeare would not have him less than a Lieutenant-General. With us a Moor might marry some little drab, or Small-coal wench; Shakespeare, would provide him the Daughter and Heir of some great Lord, or Privy-Councillor: And all the town should reckon it a very suitable match." Thomas Rymer, A Short View of Tragedy (1693) cited in Reinventing Shakespeare - A cultural history from the Restoration to the Present by Gary Taylor (Hogarth Press). 1. Allocate all the scenes and ask students to count how many times Othello is referred to as "the Moor" in the play and how often he is called "Othello". 2. In two columns, write down what other people in the play say about Othello and what he says about himself (it will help to make a note of the act, scene and line for each quotation). 3. Draw up a list of adjectives used to describe Othello, making a note of whose phrase it was e.g. "lascivious Moor" (Iago 1.1.127); "Valiant Othello" (The Duke of Venice 1.3.48). 4. Split the class into 6 groups and give each group one of the following questions: How many racist comments about Othello does Iago make in the play's opening scene? What impression of Othello has the audience been given before his first entrance at the start of Act 1 scene 2? Why is Othello often referred to as "the Moor" rather than by his given name? Why does Iago use racist remarks and the stereotype of the "lascivious Moor"? Do you think Iago's views represent the views of his fellow Venetians? How could the play be edited to make the story less offensively racist? Would a director be justified in cutting lines and scenes to lessen the impact of overt racism? What would be added to the play and what taken away if a director did chose to edit out as many racist remarks as possible? Discuss each group's answers. 5. Imagine you are staging Act 1 scene 1. Create a director's notebook giving details of: the kind of playing space/theatre you want to use. The current production (RSC 2004) is in the Swan Theatre. What difference does it make to the actor/audience relationship when the audience is on 3-sides? How different would the production be staged in a large proscenium arch theatre? Or in a small studio space? the set - would you create an upper playing level for Brabantio? the lighting - do you want Iago hidden in shadows? The text is full of contrasting images of light and dark, black and white - will this influence your staging and the lighting designs? The current production makes much of the fact that the action takes place in a hot country. the notes you would give the actors playing Roderigo and Iago about how to create mood/atmosphere/tension in the first scene. Refer to specific lines in the text. any sound effects you might want. How would you handle the racism in the play? Would you bring it to the fore it or try to play it down? Give specific examples from the text of lines you might cut or emphasize.