In our lessons on Act 3 Scene 3, we focussed on various elements to see how the scene functions.
1) Tipping Points - We discussed how the Scene and various aspects of the Scene can be viewed as a tipping point - the moment at which there is a change of state, at which an inbalance is caused - in a variety of ways: in Othello's own way of behaving; in how Iago's previous mindset becomes reflected (or balanced) in Othello's and then descends further; in how something insignificant can prove the final addition that makes the whole 'balance' of a conflict change; in how several key events which will help form the tragedy happen for the first time in this Scene.
2) Dialogic Form and Function - We looked at the FORM of adjacency pairs (where speech operates as turn-taking, with the previous speech makes clear the expected response from the next speaker) and non-sequiturs (breaking from the expected form by introducing something completely unexpected) as part of communication between two people. We also looked at four FUNCTIONS of speech - Declaratives (deliver information), Interrogatives (request information), Imperatives (direct to a course of action), Exclamatories (express emotion, not fully formed information). We used these to track Iago and Othello's dialogue to see how they express themselves, how it changes, and the interplay between the two characters
3) Intentioning - Acting works around objectives (what a character wants) and motivation (why they want it). Intentioning replaces the actual communication with what the character is trying to achieve through it. We used this technique to track how Iago & Othello communicate with each other.
4) Imagery - From the imagery that Iago has been using in the first half of the play, we identified the worldview that he has from the use of this imagery. As we observe Iago's manipulation of Othello to tragic effect, we noted how examples of Iago's imagery start to appear in his speech.
5) Key Words - We compared and contrasted Iago & Othello's 2 conversations in the Scene, noting the frequency of words and how they change and considering the importance of "thinking" turning into "seeing".
6) Stagecraft - We looked in particular at the 2 elements of stage direction which end Iago & Othello's conversation together, considering intepretations and how the emphasise Othello's tragic downfall.
7) Influences - To evaluate the character of Othello and consider his culpability for his own tragedy, we charted the information he is given access to (regardless of the intention behind it). From this, we discussed how and why Othello reaches the conclusions he does, and to what extent we sympathise with him.
Please feel free to make an insightful, intelligent, fully thought out comment on any of these areas, and please feel compelled to make one by the end of this week.
The following people need to do this (names removed when a suitably fantastic comment is added):
Sadia |
Saher |
Latia |
Lucy |
Breshna |
Moena |
Mr. Nussbaum
6) Stagecraft:
ReplyDeleteAt the end of Act 3 Scene 3, we see the breakdown and rebirth of Othello through his stage directions. Othello is first to kneel, his submission to Iago showing that he has lost his authority and role as general (suggested loss of purpose), representing his breakdown as he throws away his loving, trusting nature and hard-earned title. This image is then replaced as he rises again with Iago: suggesting that not only has he experienced a rebirth of character, but that he has been totally reborn to be similar to Iago (uses more action, speaks of monsters, swears revenge, etc.). Therefore, his tragedy is that his good view has been distorted as Iago warned with the "gren-eyed monster", meaning he can no longer see reason clearly. Emma
Following on from what Emma had stated, i shall continue in analysing the 'green-eyed monster'. the fact it is 'green-eyed' shows how this element affects vision, like everything one see is filtered with a layer of 'jealousy'; thus 'green' is symbollically to be associated with 'jealousy'. Iago here can be said to be provoking this emotion to Othello, he knows jealousy is already slowly growing inside of Othello, therefore now by presenting 'jealousy' to Othello like a meal will help strengthen the concept inside of Othello's mentality; eventually leading to Othello's tragic downfall of incontrollable feelings that will gobble his rationality, disabling him to see the truth. Kayin
ReplyDeleteFurthermore,through the idea of the "green-eyed monster" we see that Othello's decisiveness which has stood him in great stead as a soldier, goes against him in this scene; his judgement is clouded. He makes up his mind too quickly and this can be seen when he is left alone wondering "why did I marry?" This suggests that he has already decided that his wife is false. Also, "the curse of marriage" shows that his Desdemona is gone forever, even though he tries to resist Iago's version of her until he is told the story of Cassio's dream. It is evident that there is a change in Othello. He speaks violently to Iago, "villain, be sure to prove my love a whore". This harshness in his speech and the obscene images he conjures up throughout the remainder of this scene shows that Iago is winning.
ReplyDeleteOthello mentions "poison, or fire, or suffocating streams", says his name is "begrimed", and begins to curse, "death and damnation! O!" This signifies a breakdown and a disruption of mind. Later on in this scene, his words are disjointed and his thoughts become wilder and bloody.
Also, it is creepy how Iago and Othello finish each other's lines at the end of the scene. The master is clearly moving closer to his evil servant, moving further away from his wife. "I am your own forever." Iago has replaced Desdemona in Othello's affections. Iago's devotion is what Othello now relies on instead of his marital spouse.
Yusuf.
Throughout this scene we are able to see Othello's newly formed character shaping as his previous thoughts on Desdemona and the world around him are completely flipped and he no longer trusts the things that he see's or hears; aside from the lies that Iago has begun to feed him. This scene is a major tipping point in the play as everything we have seen before in Othello's character - him being a soft spoken and clear minded man - has been completely altered as he has now become this paranoid and pessimistic being. Due to all of these seemingly insignificant events leading up to this climax, there is now no place to go but down, and I believe this "insignificance" is caused by how Iago so cleverly plans out all of his actions to be seen as insignificant yet he knows what the greater outcome will be - and because of this, Desdemona is now suffering as her husband has totally lost faith in her through no fault of her own. Othello and Desdemona are now both left in complete confusion and despair as Iago's plan is finally coming together.
ReplyDeleteFatima
Based on the imagery that is used in this particular scene, we can see Othellos change and development in character; he begins to use imagery similar to the type that Iago uses in his concept of conciept. Othello also uses images of monsters and hellish concepts to express himself. His change in Language here also presents themes of deterioration and he begins to use stronger interrogation language towards Iago [and other characters]. Everything we as an audience previously thought we understood about his character, has been flipped upside down, with Othello presenting different ideas and viewpoints on situations he has already confronted.
ReplyDeleteOthello's language in Act 3 Scene 3 very sharply depicts the transformation that has taken place - it represents Iago's achievement of manipulation. The metamorphosis from rationality and romance to satanic and beholding a blurred vision occurs in Othello's soliloquy. After being described as a 'sensual' character by his (indirectly operating) serial manipulator Iago, Othello's feelings and emotions, especially on the topic 'love' completely shift - 'the curse of marriage'. Othello views 'marriage' as a 'curse' indicating that towards love, he feels hate. This is just one example of how Othello's vision has been severely blurred by the 'green eyed monster' - the 'green monster' of jelousy filters Othello's vision of life. In addition to this language, we see evilness spreading in the play, particularly in Othello's language indicating the success in Iago's manipulation.
ReplyDeleteMine is quite short because everyone basically said everything...
Loresa.
Stagecraft:
ReplyDeleteIn Shakespeare's plays, there is very rare use of stage directions. So when there is use of them, we(the audience) know that something is going to happen. The stage directions do start to lead to Othello's tragic downfall. The main direction, as Emma stated, is when Othello KNEELS DOWN to IAGO. When I read this, this was the first time in the play when I generally felt shocked. As a member of the 'audience', I sensed that straight away, Othello was going to have some sort of breakdown. Shakespeare was very clever in doing this, as an original playwright and practitioner, he got the audience to feel, and to be part of the play in a way. Othello kneeling down to Iago,immediately gives Iago the certainty of power and control that he has been searching for. With this kneel, he has said goodbye to his reputation, and his high status especially. It shows that he has given up.
I tried to add what I could...
Holls :)
ermm...i agree with everyone. In Act 3 Scene 3, the stage direction between Iago and Othelloo is very thrilling to watch because it showed the significance ( i think ) of the shift in power between the two characters. Othello kneeling down to Iago, is the complete surrender of his power and control that Iago so desires. This is the breakdown of Othello but ironiclly, Iago being the person that leads Othello to his breakdown, is also the person that fuels Othello's rebirth for revenge..maybe
ReplyDeleteThroughout the whole play up until Act 3 Scene 3, Shakespeare's use of stage directions is quite erratic (as in most of his plays) as you very rarely see it within scenes. Especially when characters are in mid conversation. In Act 3 Scene 3 this use of stage directions not only shows us (the audience) that an event or climax may occur, but, reveals a change in roles between 'Othello' and 'Iago', Othello "kneels down" to Iago, this stage direction shows us a huge and unprecedented shift in power between the two characters. Othello is usually the character with the most power and most control, however, this shift may represent Othello's downfall and submission to his 'honest' friend Iago...
ReplyDeleteThis change gave us (the audience) a thrill as none of this was inevitable or predictable.
Joseph ;D
At the end of Scene 3 Act 3 we see Othello breaking down both physically and mentally. We see Shakespeare using the stage craft to show him losing his aura of authority and leadership and submit to Iago's control as the puppet master. This is then followed by him being reborn and changed as a character; as Othello rises his language has become increasingly stark as he swears revenge and speaks of monsters,this is very similiar to Iago throughout the play and demonstrates his rebirth as a character and a tipping point within the play
ReplyDeleteAbdi