Final Othello Analysis

Reading Shakespeare and performing Shakespeare require two completely different levels of thinking. It has been debated that this 17th century playwright produced his works expressly for the purpose of being seen on the stage, rather than merely read off the page. In viewing his words brought to life on screen and stage versus reading them, this is, in my opinion, a valid argument. Shakespeare wrote for the players. I believe he held the actors responsible for bringing his characters’ words and emotions to life. Many an actor, professional and otherwise, has desired and pursued the opportunity to portray various characters from his works, in the hopes of bringing their own interpretations of the complexities of these personalities to the table. Of these performers, I am one.
This course, a study of Shakespeare’s Tragedies in film, performance, and text, provided me the opportunity to fulfill such a dream. I was honored to place my name alongside Laurence Fishburne’s in our portrayal of Othello. Othello is a revealing look at the naiveté of man, and the damaging effects of trusting too much in others. This is expressed in the performance of the words Shakespeare wrote, by Laurence Fishburne, in director Oliver Parker’s traditional film rendition, and in my own portrayal as Homicide Division Captain O. Thello. In analysis, Fishburne and I strive to reveal this naiveté using both the poignancy of the words and the physical.
Fishburne’s portrayal, in Parker’s 1995 film, was a testament to his extensive acting skill and talent. As Iago’s (deftly portrayed by Kenneth Branaugh) deceptive words gain a deeper and more secure foothold in his mind, beginning at chapter nine of the film, Fishburne’s eyes and facial expressions reveal his growing doubts in the integrity of his bride, Desdemona (Irène Jacob). Fishburne also used his voice and body language to reflect the intensity of his emotions – his joy at seeing Desdemona following an overseas battle, his pain and anger when Iago first tells him that Desdemona is not loyal, on the beach, his sorrow and anguish when he suffocates her.
Fishburne’s interpretation enraptured me; particularly, the overwhelming amount of emotion in his eyes. His eyes told the story. The love and adoration he felt for Desdemona was evident, as was his respect for Iago. But as the poison of mistruth worked its way into his heart and mind, Fishburne’s eyes began to expose his hurt. As I watched him, I was mesmerized by the intensity there. I believe that Fishburne took the words Shakespeare wrote and reached into his own soul to find a personal pain that would reflect Othello’s; the pain of trusting and being deceived when we love too deeply and trust too completely.
Fishburne’s artistry also extended to his use of body language. This was evident in the elevated level of pain he displayed when he saw Bianca waving around the handkerchief he’d given his wife. His shoulders slumped in acceptance and despair with the knowledge that everything he’d believed had been a lie, or so he thought. Fishburne also used his large size to impose the greatness of the man as a soldier and a leader. At the same time, he had a great ability to express his softness and passion, in the way he caressed Desdemona in their marital bed scene. This diverse display of physicality showed Fishburne’s translation of Othello as more than just a military giant. Othello is human. He is power and strength, and passion and pain.
In addition, Fishburne used his voice (which is distinctive in and of itself), to deliver Shakespeare’s words with conviction. His voice booms when angered by the in-fighting of his military leaders. Then, his tone is soft and melodic when speaking words of love to the woman who claims his heart. This duality in using inflection to convey emotion is another testament to Fishburne’s artistry and proficiency. While Parker’s adaptation set the play in the traditional time period, using the traditional language of the work, which is hard for many to understand, Fishburne is masterful in his delivery of the lines, even incorporating a Middle Eastern accent. In this regard, Fishburne, once again, displays his talent for bringing the character to life.
While Fishburne and I share many obvious commonalities, it was my desire to bring the same level of intensity to the role. Therefore, I determined it was necessary to use my eyes, my voice, my body language, and my expression to reveal the intricacies of Capt. O. Thello, just as he did. In studying Fishburne, I discovered that I needed to become Capt. O. Thello. I needed to think, speak, and feel as my character did – a New York cop under pressure. I put aside inhibitions and reservations to ‘become’ my character.
From watching Fishburne, I gathered that I needed to remember my voice for each scene. When angry that I was being falsely accused, I needed to increase and project my tone and depth. When I wanted to express my gentle side in the bar scene, I needed to soften my voice so that Detective Desi Santiago/Desdemona could feel my gentleness and compassion. My voice had to express my emotional connection to the character. I therefore attempted to use this to show how I was feeling and thinking, just as Fishburne did.
I also learned how to use the words I was speaking. Our performance was a modernized interpretation of the play; therefore the language was rather coarse and graphic at times. I was a New York City police captain. I was tough because I had to be, as a Black woman in a White, and blue, and male, world. I had to deliver my lines in this mentality. I had to internalize my character - to think tough. I wanted to speak my lines with the same conviction as Fishburne so as not to appear to be ‘another actor doing the lines’ but to show that I had become Capt. O. Thello. By becoming the character, I was able to make the character believable, and thus have the audience share in my plight. I believe that this is what Fishburne did. More importantly, I believe that this is what Shakespeare wanted in regard to any who perform his works.
My use of body language and facial expressions also needed to play a huge role in the level of intensity of my portrayal of Othello. Like Fishburne, I needed to show the humanity of the character. I walk tall through the station, to show my authority, but when I am confused by the events surrounding Det. Santiago’s dismissal, I needed to reflect this in my slumping shoulders or slouched sitting position. I also attempted to use my eyes in the same manner. Fishburne was masterful in using his eyes to convey his/Othello’s emotion. I needed to grasp that same intensity so that the audience could see and understand the level of emotional angst my character was feeling.
But in numerous regards, Fishburne and I differ. Besides the obvious (my barber absolutely refused to shave my head completely bald), Fishburne and I differed in our approaches to the interpretation of the character in that he’s a professional and I’m not. While I did want to be a professional actor at one point in my life, I did not have the training and preparation he received. I was attempting to be a professional actor in my portrayal of the character. I was attempting to make the character believable, plausible. I wanted the audience to believe that Capt. O. Thello was a cop who believed in her co-worker and was deceived, and eventually destroyed.
While our performances were not expected to be of the award-winning, professional caliber for the class, I believe that my interpretation of the character was quite similar to Fishburne’s, though probably still not award-winning. I wanted to bring the same depth of intensity and emotion to the portrayal as he did. I wanted Capt. O. Thello to be a rich, vibrant representation of the character flaws of our individual humanity. I wanted to show my character much like his – believing in a system and the people within the system who are different , misled because of others’ hatred and envy, destroyed because of passion.
Fishburne and I were similar in our interpretations in that we both wanted to show Othello’s emotional depth. Othello, unlike most of Shakespeare’s characters, was not a very complex personality. He was quite transparent. We knew that he was being deceived. We also knew how he’d react, even though we wanted him to react differently. I believe that Fishburne and I reflected that while incorporating the emotional vibrancy that I believe Shakespeare wanted us to focus on in regard to his character.
As actors, Fishburne and I both appeared to understand the character of Othello as a flawed human being who appeared to have it all together, but really didn’t. We similarly showed how Othello allowed his/her own trusting nature to be his/her downfall. Fishburne and I differed in that his Othello trusted Iago, and mine trusted the evidence Iago manipulated more so than listening to Iago himself. Both our characters lashed out against people we claimed to value in our lives. We both showed Othello as a character who believed too much in something other than himself.
In the final analysis, it was never my intention to rise to the caliber of Laurence Fishburne as an actor. It was my intent to bring to the stage the vibrancy of the portrayal. It was my intent to entertain the audience with a realism and depth that reflected Shakespeare’s writing. I wanted to show the character. I sought to give O. Thello life beyond the page, just as I believed Fishburne and Parker did, and just as I believed Shakespeare intended.
Overall, I have come to appreciate that the great divide between today’s audience and Shakespeare lies only in the minds of those who see the words he wrote on the page, rather than seeing the characters and their struggles as not unlike those of our own; timeless. Whether it is portrayed by Olivier or Fishburne or some no-rate college student like myself, Othello or Hamlet or Iago or Lady Macbeth are Shakespeare’s representations of ourselves and our trials and tribulations as human beings; imperfections in an imperfect world. Reading about them is one thing, but experiencing them is what we all should do in order to make the connection that we are them, and they are us.