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Othello > AO4 / AO5 > Flashcards

AO4 / AO5 Flashcards

1
Q

This production highlights the limited theatrical convention to present Venice due to a small stage.

A

Jonathon Miller

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2
Q

This production was filmed in Venice, perhaps making it more appealing and realistic to a modern audience.

A

Kenneth Branagh

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3
Q

Othello is a tragedy that proceeds from misunderstandings and misconceptions.

A

Donkor

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4
Q

‘Othello’ is a tragedy of racial conflict.

A

Robeson (black actor)

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5
Q

‘Othello’ is a story focusing on the death of chivalry, romantic courting and Othello’s inability to love.

A

Leigh Copas

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6
Q

In this production, Iago’s speech is fast-paced and comical.

A

Jonathon Miller

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7
Q

In this production, Brabantio’s function a Senux Iratus is emphasised through his confusion.

A

Jonathon Miller

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8
Q

In this production, Desdemona’s speech is clear and eloquent, but she lacks emotion.

A

Jonathon Miller

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9
Q

In this production, Othello is played by a white man. He is laid-back and has a general lack of concern.

A

Jonathon Miller

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10
Q

In this production, there is a close-up shot of Iago whispering into Othello’s ear.

A

Kenneth Branagh

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11
Q

The Moor’s stories allow Desdemona to experience the exotic and erotic delight.

A

Virginia Mason Vaughan

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12
Q

Othello transforms into the ideal Renaissance lover, one who seeks spiritual love over physical love.

A

Leigh Copas

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13
Q

The loss of a hawk was considered a financial blow; Desdemona is therefore a prized , valuable possession.

A

Kate Ashdown

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14
Q

The handkerchief’s pattern of strawberries adds domesticity and femininity to his war-like personality, making his moorish culture civilised and cultivated.

A

Andrew Brown

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15
Q

Othello is not the beast we expect. In the end, it is Iago who is the ‘inhuman dog’.

A

Andrew Brown

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16
Q

The handkerchief’s ‘spotted’ pattern of red strawberries implies the loss of virginity.

A

Donkor

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17
Q

The handkerchief draws parallels with all three women, revealing the true nature of a woman’s role - a sexual being for a man.

A

Kiernan Ryan

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18
Q

Othello is more vulnerable to Iago because he is black. Othello is kept at a distance from the audience whereas Iago has a ‘seductive intimacy’ with the audience.

A

Kiernan Ryan

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19
Q

In this production, Othello is wrapped in chains in order to symbolise Iago’s control.

A

Kenneth Branagh

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20
Q

In this production Othello imagines a hyper-sexualised scene between Desdemona and Cassio, highlighting Jacobean fear of cuckoldry and female sexuality.

A

Kenneth Branagh

21
Q

Jacobean theatrical performances often portrayed black men as villainous. However, Othello is the hero of the play whilst Iago, the white racist, is the villain.

A

Dickinson

22
Q

Jacobean portrayals often reduce women to saints, mothers or whores.

A

Melville

23
Q

Othello transplants the rapid, impulsive decision-making of the battlefield to the domestic sphere.

A

Donkor

24
Q

This actor views the play in two halves. In the first half, Othello is wise, astute and mature whereas in the second half, Othello is obsessive, compulsive and a murderous maniac.

A

Quarshie (black actor)

25
Q

The preoccupation with cuckoldry demonstrates a male insecurity about female sexuality.

A

Virginia Mason Vaughan

26
Q

Courtly love introduces the theme of cuckoldry and most importantly, women’s loss of power

A

Leigh Copas

27
Q

It is Othello’s devotion to his militaristic and social image that outweighs his love for Desdemona.

A

Leigh Copas

28
Q

‘I wooed thee with my sword.’ - Theus to Hippolyta

A

A Midsummer Night’s Dream, Shakespeare

29
Q

Aaron is a hyper-sexualised black male.

A

Titus Andronicus, Shakespeare

30
Q

Touchstone is the court fool.

A

As You Like It, Shakespeare

31
Q

There is betrayal and treachery between family members, Oliver and Orlando.

A

As You Like It, Shakespeare

32
Q

Miranda and Ferdinand fall in love at first sight and desire to marry immediately. (love as naive and impulsive)

A

The Tempest

33
Q

Egeus does not want his daughter, Hermia to marry Lysander. She must either face the death penalty or become a nun forever.

A

A Midsummer Night’s Dream

34
Q

Cleopatra is arguably one of Shakespeare’s most developed female characters - a contrast from the passive Desdemona.

A

The Tragedy of Antony and Cleopatra

35
Q

Orlando’s naive love for Rosalind demonstrates the artificiality and foolishness of Courtly Love.

A

As You Like It, Shakespeare

36
Q

Old Hamlet dies from poison which is poured into his ear.

A

Hamlet, Shakespeare

37
Q

Rosalind gives Orlando a necklace as a token of her love. (The handkerchief’s function)

A

As You Like It, Shakespeare

38
Q

Macbeth and Lady Macbeth lose sleep over their distress and guilt.

A

Macbeth, Shakespeare

39
Q

Vittoria appears innocent but remains guilty.

A

The White Devil, Webster

40
Q

Isabella and Vittoria express their frustration with male dominance (in a misogynistic play).

A

The White Devil, Webster

41
Q

Raven imagery is used when Duncan enters the castle in order to foreshadow his death.

A

Macbeth, Shakespeare

42
Q

Leontes fears his wife has committed adultery with his best friend. Unlike Othello, who is manipulated by Iago, Leontes convinces himself. Both Othello and Leontes react violently.

A

The Winter’s Tale, Shakespeare

43
Q

Demetrius and Lysander argue over who should marry Hermia.

A

A Midsummer Night’s Dream, Shakespeare

44
Q

When Cleopatra discovers that Antony has killed himself, she commits suicide out of loyalty to him.

A

The Tragedy of Antony and Cleopatra, Shakespeare

45
Q

Loyalty is questioned as an enduring feeling when Antony and Cleopatra’s loyalty to one another is tested through the choices they must make.

A

The Tragedy of Antony and Cleopatra, Shakespeare

46
Q

Hamlet seeks revenge on Claudius who killed his father, Old Hamlet.

A

Hamlet, Shakespeare

47
Q

Barabus takes revenge on Ferneze. However, he is unsuccessful and, in the end, Ferneze betrays him and Barabus dies.

A

The Jew of Malta, Marlowe

48
Q

‘Othello’ is a ‘tragedy of misunderstanding’

A

John Wain

49
Q

Motiveless Malignity

A

Coleridge

Othello (1 decks)

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