Wednesday, 20 April 2016

Othello End Of Unit Reflection

1) What character were you playing and how did you try to portray this character to the audience? (how did you want the audience to think of your character?)
I was chosen to play the character of Iago. Iago spends all of his time plotting against Othello and Desdemona, eventually convincing Othello that his wife has been cheating, despite the fact that Desdemona has been completely faithful. Iago's capacity for cruelty seems limitless, and no motivation he gives for his actions seems enough to explain the incredible destruction he wreaks on the lives of the people he knows best. when portraying Iago, I ensured to show his demise through subtle aggravated body language; this included tapping of the feet, rolling of the yes - any slight body movements that would show how fed up Iago was of Roderigo. with regards to playing Iago I obviously faced some challenges as evidently I am a girl. I was required to lower my voice, change my body language. I occasionally would be to girly, in which I corrected myself by looking at videos and comments as inspiration.
I wanted my audience to view Iago as a sympathetic character at the start of the act, however then come to realise how creepy evil he truly is. I did this by raising my voice gradually through the act intensifying the performance along with melo-dramatizing my body language more and more.

2) Was there a part of your scene that you thought was the most effective? or a line that you think you delivered well? (explain and describe)
I think the most effective part in our scene was my monologue to Roderigo telling him what to do. If felt like this was the essence of the whole scene and play as it is where Iago is actually explaining his plan to both Roderigo and the audience. This is don’t through lines such as "So let’s join forces and get revenge. If you seduce Desdemona and make a fool out of him, it’ll be fun for both of us. Many things may happen." and "I’ve told you I’m your friend, and I will stick by you. I’ve never been more useful to you than I will be now."

3) What was the greatest challenge for you in this task? how did you overcome it?
I felt like my biggest challenge throughout this task, was how was I, a female, going to play the role of Iago, a male. I evidently knew I had to overcome this challenge and I did that by researching and asking for advice. For starters I searched for tips and tricks on how to portray a male character, I was given very helpful notes such as lowering my voice correcting my posture etc. etc. During our first draft performance to Ms. Justine she assisted me by tell me some body language that I could do, such as instead of folding my legs I would need to bend one of them over the other, or to walk in a slow pace occasionally with my hands behind by back. I felt like these small corrections definitely did make an impact on my final performance in a positive way.

4) How do you think the performance went overall? Was there anything that could have been improved? What could you have done better?
I believe our performance was successful and was initiated as planned. To improve I feel like Deniz and I could push ourselves that extra mile and do the Shakespearean version of the play. Lastly, I would improve my articulation. Although I did project well, I managed to mumble at some of the louder lines due to me speaking to fast, therefore I would slow down my pace and enunciate each and every word.

5) If you think back to the start of this unit, what performance skills do you think you have developed across the term? (confidence, voice projection, use of gestures and movement etc..)

As mentioned preciously I feel like I develop my body language more throughout this unit. By body language, I am referring to mostly expanding my range to different characters. Before this unit I have never played a male character and was used to playing really feminine characters. Throughout this unit I have learnt things about posture, use of gestures and movements with regards to a male character therefore have expanded my knowledge and use of body language.

6) What was the best part of the Othello unit and all the work you did in class? What was valuable to you about learning about this play?

In my opinion I loved the unit as a whole, the fact that we were using script work to develop a whole performance, I personally love the thrill that comes when performing to an audience, and in this scenario the preparation that lead to that was fun as well. I enjoyed working in a smaller group, where we were able to share opinions and feedback better than when in a larger group. Overall, I enjoyed performing to an audience and working in a smaller group.

7) If you had to do this unit again, what would you do differently or what would you improve?

If I were to repeat this unit I would definitely look into different perspectives in the play and maybe assign a task related to that. This in regards to maybe how all the other characters in the play feel about one person, such as a hot seat. And lastly I would maybe try challenging myself by doing the Shakespearean version of the play rather than sticking with the modern version.

8) Anything else?
Here is a collage of photos from our performance
(Made by Deniz)

Saturday, 9 April 2016

Othello Script: Act 1 - Scene 3

IAGO = ALINE
RODERIGO = DENIZ

RODERIGO:
Iago.

IAGO:
What do you have to say, noble friend?

RODERIGO:
Did you not see what just occurred right in front of our our eyes?!  Othello and Desdemona just legally eloped! What do you think I should do?

IAGO:
Go to bed, and sleep.

RODERIGO [hiding from depression]:
no, I will incontinently drown myself.

IAGO [Roderigo is an Idiot]:
If you do that, I’ll never respect you again. Why, thou silly gentleman!

RODERIGO:
It is silliness to live when to live is torment. The only cure is death.

IAGO:
Oh, how stupid! I’ve been alive for twenty-eight years, and I’ve never met a man who knew what was good for him. I’d rather be a baboon than kill myself out of love for some woman I can’t have.

RODERIGO [outrage & shivering voice]:
What should I do? I know it’s foolish to be so much in love, but I can’t help it.

IAGO [“just do it / fed up” tone]:
Can’t help it? A Fig! 'Tis in ourselves that we are thus or thus. Our bodies are like gardens and our willpower is like the gardener. Depending on what we plant—nettles or sow lettuce, or one kind of herb rather than a variety, the garden will either be barren and useless, or rich and productive.

RODERIGO [outrage]:
This isn’t the time to be talking about your gardening problems, I have a hole in my heart that needs to be filled with Desdemona’s love.

IAGO [Hold & Calms Rogerigo]:
What I’m trying to say is, if we didn’t have rational minds to counterbalance our emotions and desires, our bodily urges would take over. We’d end up in ridiculous situations. Thankfully, we have reasons to cool our raging lusts. In my opinion, what you call love is just an offshoot of lust.

RODERIGO:
You’re questioning my perspective of love when you’re not doing so well yourself. In my opinion love is merely caring about someone so deeply that you put them before yourself and are willing to stand by them for the rest of your life. To me, love is about the emotional satisfaction. It's about true understanding and complete trust of another individual; binding your soul to theirs and wanting to give everything you have to them because you want the best for them and not for selfish reasons. Love is a form of…

IAGO [Cuts Roderigo Off]:
[Pathetic Tone] Roderigo spare me your tale of woe. You feel love because you feel lust, that’s simply it, you have no willpower. Come on, be a man. Drown yourself? Drowning is for cats or blind puppies—don’t drown yourself! I’ve told you I’m your friend, and I will stick by you. I’ve never been more useful to you than I will be now. [PAUSE] Here’s what you’ll do. Sell all your assets and your land, and turn it into cash. Desdemona can’t continue loving the Moor any more than he can continue loving her. She fell in love with him very suddenly, and they’ll break up just as suddenly. Moors are moody people.—So sell your lands and raise a lot of cash. What seems sweet to him now will soon turn bitter. She’ll dump Othello for a younger man. When she’s had enough of the Moor’s body, she’ll realize her mistake. She’ll need to have a new lover. She’ll have to have it. So have your money ready. If you want to go to hell, there are better ways to do it than killing yourself. Raise all the money you can. I can get the better of religion and a few flimsy vows between a misguided barbarian and a depraved Venetian girl. You’ll get to sleep with her—just put together some money. And to hell with drowning yourself! That’s completely beside the point. If you’re ready to die, you can risk death by committing crimes in an attempt to get the woman you want. Don’t just give up on her and drown yourself.

RODERIGO [Bribes With Money]:
Can I count on you if I wait to see what happens?

IAGO:
You can trust me. Go now and get cash. I told you before, and I’ll tell you again and again: I hate the Moor. I’m devoted to my cause of hating him, just as devoted as you are to yours. So let’s join forces and get revenge. If you seduce Desdemona and make a fool out of him, it’ll be fun for both of us. Many things may happen. Go get money. We’ll speak again tomorrow. Goodbye.

RODERIGO:
Where will we meet in the morning?

IAGO:
At my house.

RODERIGO:
I’ll be there early.

IAGO:
Go home. Goodbye. Oh, and one more thing...

RODERIGO:
What is it?

IAGO:
No more talk about killing yourself, okay?

RODERIGO:
I’ve changed my mind about that. Once when I get my Desdemona the only person that will be thinking about killing themselves will be Othello.

IAGO:
Go then, goodbye. Put a lot of cash together.

RODERIGO:
I’m going to sell all my land!
RODERIGO EXITS

IAGO:
[SNOBBY AND EGOTISTICAL] That’s how I always do it, getting money from fools. I’d be wasting my skills dealing with an idiot like that if I couldn’t get something useful out of him. [PAUSE] I hate the Moor, and there’s a widespread rumor that he’s slept with my wife. I’m not sure it’s true, but just the suspicion is enough for me. He thinks highly of me. That’ll help. Cassio’s a handsome man. Let’s see, how can I get his position and use him to hurt Othello at the same time? How? How? Let’s see. [PAUSE] After a while I’ll start telling Othello that Cassio is too intimate with Desdemona. Cassio is a smooth talker and a good-looking guy, the sort of man that people would expect to be a seducer. The Moor is open and straightforward. He thinks any man who seems honest is honest. People like that are easy to manipulate. So it’s all decided. I’ve worked it out. With a little help from the devil, I’ll bring this monstrous plan to success.

IAGO EXITS