This production photo depicts Othello (Damon Gupton) being arrested by Brabantio, Roderigo and other officers in Act 1. Click on the image for a larger version. In the background is Gene Emerson Friedman's versatile and attractive set, which was able to transform from Venice to Cyprus during intermission.
For Othello, my first dramaturgical challenge was to research some inspirational military images at the request of the movement coach, Dr. Jennifer Martin. I was able to find some Turkish and Venetian images from paintings, book illustrations and costume design collections. I also brought several books on Venice to rehearsal for the cast and crew members to browse when they had the time.
My second challenge was to do some research into the blood oath (a.k.a. "blood brothers") ritual in 3.3, when Othello and Iago make a pact to revenge the supposed wrongs that have been done to Othello's honor. After hurriedly researching and obtaining some little-known anthropological books through interlibrary loan, I discovered that the ritual has been practiced in hundreds of different cultures throughout history--with just as many variations. In particular, the most helpful book I unearthed was titled Blood-Brothers: An Ethnological Study of the Institutions of Blood-Brotherhood, with Special Reference to Africa (1952) by Harry Tegnaeus, which I located in the MU Depository.
Afterwards, I was able to compile two different possible acting versions of the scene to suggest to the director for experimentation in rehearsals. More importantly, I also was able to validate that what we had been trying up to that point was perfectly acceptable and not inaccurate by any means.
Afterwards, I was able to compile two different possible acting versions of the scene to suggest to the director for experimentation in rehearsals. More importantly, I also was able to validate that what we had been trying up to that point was perfectly acceptable and not inaccurate by any means.