Othello Theatre Rehersal

Our session with the theatre department this week was exceedingly helpful for further blocking. We learned many new techniques, such as remaining 'open,' which is keeping our bodies at an angle so that we do not distance ourselves from the audience completely by not facing them directly. Odd to say, I also learned how to hit properly. Apparently I am supposed to hit Iago with the first two inches of my fingers and strike by his jaw so that it doesn't overly distract from the rest of the performance. I yet am uncertain of how to act drunk however. The theatre student informed me to look like I was trying to hide the fact that I was drunk. Hopefully I can pull that off. Plus, our last scene involves three of us dying within two seconds. It’s going to be rather interesting with all three of us falling down. I get to do this little twirl thing. Hopefully I won't look completely idiotic. Right now I simply have to focus on memorization, which is something I am good at. The rest of it, not so much. We have another practice day November 10th, so hopefully we will be much improved.

The Last Stages of Play Production

Throughout this semester, the largest focal point has been on the production of our various plays. Seeing how my particular group decided on reforming the entire Othello play into fifteen minutes, we have experienced multiple complications. The majority of which involved rewriting the play to a Law and Order theme, switching genders of characters to that of the actors we have available, and coming up with appropriate and believable dialogue for a tragedy. However, I believe our most problematic situation is that of our individual roles in the play production. For instance, three of our members wish to be the head of the group, resulting in multiple power struggles. Such instances involve stepping out of bounds in regards to the specific duties as actors and directors. Two actors, for example, wish to take more of a lead approach in regards to directing the play and writing the script. This is obviously not their duty and has created various conflicts in the group as a whole. When it comes to the director, she does not allow anyone else to maintain their own personal duties and takes it upon herself to dictate to everyone. She does not allow individual interpretation of characters by the actors themselves and she completely does not allow the production designer to do any of her own responsibilies. For future classes, I believe it would be beneficial to encourage production groups to work more as a team instead of forcing students into specific roles. From what I see, this has only resulted in dissatisfaction with specific roles and the typical corruption of power.

Orientalism in Othello, Act I

If you will recall, my literary comprehension paper suggested that the best way for me to achieve the third level of reading development is to purposely interpret a text from a world perspective and/or theory. As a result, I found the class discussion of Orientalism in Othello as exceedingly helpful because, even though I have picked up on Orientalist characteristics in other texts, I personally have never connected Shakespeare to this particular world perspective. I do not know why this is the case seeing how Shakespeare was alive during the time when there was not that much exposure to non-Western cultures, which resulted in such fantasized Orientalist opinions. However, the class discussion allowed me to finally analyze the various reasons behind Shakespeare’s use of Orientalism, whether it was to criticize or simply incorporate accepted Orientalist views. I personally am torn between these two interpretations of the text seeing how there were not many individuals during Shakespeare's time that were apposed to Orientalism, which makes the likelihood that Shakespeare is apposed to Orientalism rather slim. Yet, since Othello obtains some mild sympathy from the audience for all that has befallen him and his loved ones due to the greater evil of Iago, which is typically the overall purpose of any tragedy, I am slightly swayed to believe that Shakespeare himself does sympathize with Othello and is consequently against Orientalism. Though the degree to which Shakespeare is against Orientalism may be slighter than what would be desired by modern cultures.

Literary Comprehension Paper

The quest to become a better reader should be an endeavor that everyone seeks to fulfill. Such a task is something I have laid before myself not only to understand the author’s intention within certain texts, but to also become a better writer myself by comparing the various literary techniques employed by various authors. However, the task to become the ideal reader is yet to be achieved because I have not mastered the third and final stage of literary development. It is only through time and practice that this final step can ultimately be established.

Previous to Shakespeare’s Tragedies, I consider my reading development to be between the second and third stage because I typically had a personal response toward any given text while comparing that same text to other forms of literature. However, I was not able to similarly evaluate the text from a world perspective. Being unable to implement such world perspective analysis habitually hindered me from fully achieving the third stage of reading comprehension. For instance, while reading fantasy literature I previously had a tendency to analyze the text as I read it in order to determine what textual structures were effective. This process allowed me to have a personal response toward the text at the same time that it allowed me to compare the text to other structural forms that were either more or less effective.

Anne McCaffery’s Pern series, which began as a trilogy and was later expanded by twenty additional texts, is a good example of my customary reading process because I personally felt that the extra texts in the series were unnecessary since each text simply repeated the story line of the Pern trilogy from a different character’s point of view. As a result, I viewed Anne McCaffery as a copout author who over-extended her popular series, including the Acorna series, in order to make more profit.

I also compared Anne McCaffery’s texts to other authors to determine who had a better writing technique as well as any similar textual devices each author implemented, such as the parallels between Anne McCaffery’s Acorna series and Orson Scott Card’s Ender’s Game series. When I compared the two different writing techniques I could visibly see that Anne McCaffery’s writing style was more whimsical, while Orson Scott Card’s was bleak and philosophical. I also noted that there was one drastic similarity between the two series, which was their use of an insect-like alien species who was attempting to concur the universe. Even though insect-like aliens are common among fictional texts, the description of McCaffery’s and Card’s species were drastically comparable. Such analogous characteristics and qualities enabled the controversial question as to whether who truly created the alien species first and if one author was guilty of plagiarism. Yet, I was unable to analyze these two authors from a world perspective because the quality of social commentary was either completely absent from the texts or just an unreasonable variable with the given story line.

This was not the case with other fiction writers, such as Margaret Atwood who composes fiction and science fiction texts while conveying rigid social commentaries. The Maiden’s Tale is but one example of this because it is apparently a well written text with a feminist message at its heard. The text itself therefore enabled me to analyze it from a personal, textual comparison, and world perspective. As a result, I was capable of analyzing texts using all three developmental reading stages, but I was unable to always use each reading technique simultaneously. Such a dilemma consequently placed me in-between the second and third stage of reading development previously to this course.

Unfortunately my current reading status has not much improved since the beginning of Shakespeare’s Tragedies because I am still mainly having personal responses to texts with external textual comparisons. For instance, I am completely incapable of enjoying “Titus Andronicus” since I personally do not appreciate violence and gruesome rape scenes. Due to my personal tastes I am hindered from analyzing the text objectively from a world perspective. Yet I still can compare Titus Andronicus to other texts in regards to its structural technique. Since Titus Andronicus was Shakespeare’s first tragedy it is easy for me to compare it to his later refined tragedies and his skillful composition in his previous comedies. Consequently, I am able to determine how Titus Andronicus was a literary failure in relation to the character development of his comedies as well as note how his tragedies improved as he had time to practice the tragic form.

Conversely, like my previous reading comprehension, I can occasionally read texts using all three reading devices, which is particularly evident when I address the question of Hamlet’s insanity in my blog. I state, for example, that as an individual reader I do not perceive Hamlet as insane given the textual evidence in the play as well as that textual comparison to other Shakespearean texts and analysis using world perspectives gives further evidence that Hamlet is not truly mentally unstable. In order to develop this argument, I compare Hamlet’s character to Macbeth and Othello to prove that all three characters are essentially similar and that Shakespeare is simply following a common character template for all of his plays because each main character is fundamentally irrational and dangerous. I further analyze Hamlet by implementing the world perspective that ghostly apparitions during the time period were accepted as an element of reality and that such sightings would not be viewed as hallucinations induced by an insane psyche like it would in this modern era. As a result, like my prior development as a reader, I am still between the second and third level of reading progress.

In order to fully reach the third stage of reading comprehension, I will have to actively employ the third literary technique in each text covered in order to eventually master it since it is not always natural for me to incorporate a world-based analysis of every text. I will therefore have to be consciously aware of my personal reaction toward a text as well as my comparison of the text to other forms of literature, and any potential cultural, gender related, or other world perspective analysis feasible for the text under scrutiny. In this manner, it will be useful for me to employ theorists in order to enable my achievement of the third reading level, such as our in-class analysis of Hamlet from a Feminist and Freudian perspective. This method actively aloud me to interpret Hamlet by two different world perspectives, which would generally be difficult for me to accomplish left to my own devices because I am not a serious Feminist or Freudian theorist. It is consequently crucial for me to employ theorist in my future textual analysis to enable me to finally reach the third level of reading development.

It is through this process that I hope to finally achieve the highest level of reading comprehension so that I can interpret, discuss, and eventually teach various texts effectively. Once this is accomplished, I will be able to analyze texts through multiple world perspectives simultaneously in order to allow all possible literary deductions. As I suggest in my blog, the author is dead, so it is imperative that I become the best reader I can in order to get into the mind of the author through the heart of their written text.

Hamlet Act I

The main question that is always asked about Hamlet is whether he is insane or not. I personally do not understand why this question first came about. Is it because Hamlet saw his father's ghost and critics believed he was having crazed hallucinations? Is it because Hamlet is obsessively protective over his mother? Or is it because Hamlet is extremely paranoid and kills without regret? That aside, on reading Hamlet I personally do not feel he is insane. For instance, I would be upset if my mother married my uncle less than two months after my father's death. I do believe in the possibility of ghosts, so I don't hold Hamlet seeing his father's ghost against him. Plus, if I found out that my father was murdered, I would also be paranoid and probably desensitized towards death if I killed someone to protect myself. During the time period that Hamlet was written ghosts were also viewed as real entities and it was encouraged to avenge the wrongful death of a loved one. Therefore, the storyline and character development of Hamlet would be acceptable. The only thing that Hamlet did wrong was that he waited too long to invoke his vengeance, which obviously had drastic consequences. Also, in comparing Hamlet to Shakespeare's other texts, there are plenty of characters who are similar to Hamlet, such as Othello's paranoia and rash actions or Macbeth's encounter with three witches. Othello acts rashly because of male jealously. Macbeth acts rashly because of the words of witches, who are also mythological creatures along with ghosts. Consequently, both Othello and Macbeth are practically the same as Hamlet, yet they are not viewed as insane. How can that be? All of these characters are obviously modeled after a single Shakespearian template. I think it would be interesting to determine whether there is any evidence that Shakespeare had Hamlet performed as an insane character or if the interpretation of Hamlet’s insanity was put into play by later directors, which resulted in the continuance of that specific interpretation. Whatever the case may be, Hamlet’s acts and psychological instability are completely understandable for the stressful situation he finds himself in.