Abstract
Rarely does Shakespeare assign the antagonists in his plays such dominant and pivotal roles as he does in Othello. Seldom, either, does a Shakespearean character exhibit such an obsession with playacting and theatricals as Iago does. The paper at hand explores the consequences of Shakespeare’s unusual decision to tip the traditional balance between protagonist and antagonist in favour of the latter in this great tragedy. The paper argues that Othello is more a play about the splendour of playacting and the charm of actors than it is about evil and evildoing. Arguably devised as suffering from ‘histrionic and narcissistic personality disorders,’ Iago is self-urged, by his latent desire for attention and approval, to parade his histrionic flairs and procure audience’s admiration and commendation. The paper, therefore, assesses the acting and theatrical potentials that Shakespeare invested in the character of Iago, with special attention given to the queer antagonist-audience rapport in the play. The paper concludes that the character of the antagonist is the central attraction in Othello and a major factor in its popular reception. Shakespeare makes Iago ‘the acting dramatist,’ who combines the roles of playwright, actor, stage-manager, and director, to extol the acting profession and emphasise the power of great actors in his day. The paper invites readers of Othello to view Iago not merely as a malefactor but also as a deft actor.
Highlights
Few characters in Shakespearean tragedy afford as much scope for the display of their imposing theatrical potentials and for their abilities to engage and entertain audiences, on both stage and the page, as the antagonist in Othello does
The paper, assesses the acting and theatrical potentials that Shakespeare invested in the character of Iago, with special attention given to the queer antagonist-audience rapport in the play
Iago’s soliloquy in Act II, scene 1, after Roderigo has left, does not expose a soldier downcast over the loss of a post he covets. It reveals an HPD persona clearly obsessed with inventing scenarios that would grant him an opportunity of a performance that would simultaneously boost his own ego and procure for him both personal ecstasy and the audience’s acclaim (“That Cassio loves her, I do well believe’t ...” (II.1.276 ff.)) As the action progresses, Iago hardly misses a chance to emphasise his superior talents at staging little plays and playing roles that prove his unique intellect and keep him in the centre of attention
Summary
Few characters in Shakespearean tragedy afford as much scope for the display of their imposing theatrical potentials and for their abilities to engage and entertain audiences, on both stage and the page, as the antagonist in Othello does. Few of Shakespearean stage characters display the manic obsession with actual theatricals and performance or acquire the versatile acting aptitudes that the flamboyant antagonist in Othello does Throughout this tragedy, Iago is the architect of all the intensely dramatic intrigues, often playing the central role of the witty, droll rogue. The second is his virtuosity as a real-life actor, which arguably proves one of the central issues posed in the play The former aspect of Iago has long intrigued the readers and critics of the play; the latter aspect has always entertained audiences, heightened their pleasurable suspense, and added a unique touch of black comedy and sarcasm to the play. The central aim of the paper will be to explore the intricacies of Iago’s role and its effect on the reputation the play enjoys among the Shakespeare canon
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More From: International Journal of Applied Linguistics and English Literature
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