another othello

a meta-production of othello
that recognizes the play’s inherent dangers
One of a Pair of Ebonized Wood Tobacco Jars - Anon. 19th c.

This production (set in the great room of a grand old house) literally splits the eponymous character into the two parts that so often seem conflicting: Othello and The Moor.

 

Throughout, the production will use several other meta-theatrical tools – most notably the casting of Iago in not only many of the auxiliary roles (Brabantio/Montano etc.) but also the role of dramatist, as if it’s his production – to accentuate the impossibility of Othello for modern black actors, expected to find some mythical middle-ground of acting without being.

 

A fuller explication of the idea can be found below, in a deck that includes an essay on the history of the play.

another othello

Theater Direction • Adaptation

Adobe Illustrator • Adobe InDesign •  The Work of Many Black and Brown Academics and Intellectuals

another othello (in process)

Theater Direction • Adaptation

Adobe Illustrator •  The Work of Ayanna Thompson and Keith Hamilton Cobb

It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One feels his two-ness, — an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.
W.E.B Du Bois – Strivings of the Negro People, 1897
White people go 'round, it seems to me, with a very carefully suppressed terror of black people, a tremendous uneasiness; they don't know who- They don't know what the black face hides. They're sure it's hiding something. What it's hiding is American History. What it's hiding is what white people know they've done and are doing.
James Baldwin – ABC Interview, 1979 (unreleased until 2021)
When a black man in the West is portrayed as noble it usually means that he is neutralized. When white people speak so highly of a black man's nobility they are usually referring to his impotence.
Ben Okri – A Way Of Being Free, 1997
...another reason for my hesitancy [to play Othello] was that I knew all too well how easy it is for Iago to steal the play: it may be Othello’s tragedy, but it is Iago’s play. An actor of skill, given ample material to charm an audience, will charm that audience.
Hugh Quarshie – Playing Othello, 2016
I love Shakespeare. I love the sound of his voice. I love to hear him speaking through me. I love him just as I love you, Black man, for you speak through me too and you can see all the scant good your noisy-ass, fearsome fuckin’ voice has done me in America… And yet I have not sought to disavow your obtrusive energies the way they march before me into every room. I love you both. [...] I am, by turns, embarrassed and inspired… emboldened by you both, two mighty forces converging in me. [...] I have been ready for some thirty years to at least attempt [Shakespeare's] lovers, his warriors, his fools. And yet to most, I have only ever looked like this one.
Keith Hamilton Cobb – American Moor, 2019
Wait a minute. Why're these books here?

I'm not sure. I would imagine that this author, Ellison, is black.
That's me. Ellison. He is me. And he and I are black.
Oh, bingo.
No bingo, Ned. These books have nothing to do with African-American studies.
They’re just literature.The blackest thing about this one is the ink.

I don't decide what sections the books go in.
Nobody here does. That's how chain stores work.

Right. Ned. You don’t make the rules.
Cord Jefferson – American Fiction, 2023
Previous slide
Next slide
you never call, you never write...

(get in touch!)
you never call, you never write...

(get in touch!)