When comparing and contrasting the character's Oedipus and Othello by means of the different theat
rical practices, one must take in account that there have been many interpretations, and productions
of each of their respected plays. The differing presentations of each may lead someone to think di
fferently about the play than another would. In comparing and contrasting the dramatic representati
on of the protagonists Oedipus and Othello, theatrical presentation, costume design, and character w
ill lead the reader, and viewer, to have a greater insight into the theatrical practices of their ti
mes and their approaches to the issue of verisimilitude.
The theatrical presentation o
f both plays are very similar. The two plays would both be presented on a thrust stage, which is a
platform surrounded on three sides by the audience. Except for the backdrop which would have some e
lement of scenery, the stage itself would be bare apart from a few scenic elements and props. Othel
lo, like most of Shakespeare's plays, had what is called an abstract setting. That is a setting in
which the locale may change rapidly, it may not be indicated by the script that it has changed, and
was most likely suggested by a few props. Abstract settings place more emphasis on the language and
the performer, which causes the spectator to use their imagination. It also places more emphasis o
n costuming. This type of
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setting helped set up the style of representational theater, which
places high emphasis on the realistic. The style used in classical Greece was presentational which
, because of the use of the mask, gave no illusion that this story is happening before their eyes. T
he audience is reminded that they are watching a play, and not merely observing life. Thus, the use
of the thrust stage is the only similarity of the two types of presentation. Othello is a purely i
llusionistic play, whereas Oedipus Rex is one that when watched, the viewer knows that they are watc
hing a performance.
Costumes convey information about the character and aid in setting
the tone or mood of the production. Because most acting involves impersonation, most costumes are
essential to re-create historical or to the period in which the production takes place. Costumes li
ke that of William Shakespeare's Othello maybe abstract, ever-changing, like it's setting. When usi
ng the costume design of the latest film version of Othello, he is usually seen in a toga-like unifo
rm which may have stemmed from his moor background. Since costume elements were formalized in class
ical Greek theater, the costumes would be that of everyday dress with slight additions of colour, de
signs, all of which created a larger meaning in the context of the play. The additions on the toga
also contributed to accentuating the setting , which in Oedipus' case was Thebes. His toga could ha
ve been coloured like the sand and have an ornament like a Sphinx tooth, signifying his bravery for
killing the beast. In the case of Othello his toga-like uniform, may have had a general's insignia
on the shoulders, and much like in the film, the scars and tattoos showing the suffering he has gone
through. On the issue of verisimilitude, actors in Oedipus Rex would be required to wear a mask be
aring an expression that would stay throughout the place, making the character's seem flat and gener
al. Oedipus is a round character, but because of the mask, he has a one dimensional projection to t
he audience. The costumes worn in
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Othello would be that of clothing of that time. This is comm
on in both plays, but the absence of the mask in Othello, meant that the actor provided their own ex
pressions. Thus, the costumes worn in both plays would be life-like to the audience, but the use of
the mask in classical Greece robbed the viewer of a three dimensional projection and withheld the ex
pressions, by the actor.
When an actor acts, they impersonate to believably re-create
a historical or fictional character. The character's of Oedipus and Othello are developed into round
characters. Round characters are those that are well developed three dimensionally with multiple m
eaning to their characters. Oedipus is a character who's fate cannot be avoided, and which ever pat
h he seems to take leads him to more trouble than what he had to deal with before. Even though his
character is well-rounded, he is not believable. It would be highly unlikely that Oedipus would mar
ry a woman who looked as if she could be his mother without asking a few questions about her past ma
rriages and about her children. It could have caused some insight in their characters, and question
s could have arisen about the first child which was sent away and thought of as dead. Othello on th
e other hand is a well-rounded character, and he is believable. Othello is a man who is filled with
jealousy and mistrust he learns that his wife may be sleeping with another man. Anyone who has bee
n in love has had this feeling once and a while, and that feeling is being fed by the person of whom
they most trust it can be devastating for that person. As Iago continually feeds Othello's suspici
on, his hurt and mistrust grows for his wife, until he finally kills her. This is seen in the news e
veryday...a jealous lover kills the other half because they were seen with another man, or with thei
r ex. Thus, the character of Oedipus is a round characters, but cannot be believed due to the absur
d circumstances of his marriage
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with Jocasta. Othello's round character can be believed, becaus
e jealousy invades all of us at one time or another and for Othello, he chose to act upon it much li
ke those who act in our society today.
In conclusion, when comparing and contrasting t
he dramatic representation of the protagonists Oedipus and Othello, the differences in their theatri
cal presentations ,with regard to the styles of presentational and representational theater, the sim
ilarities in approach to costume design, and their approaches to the validity of realistic character
s, gives great insight on these two different dramatic periods.when comparing contrasting character
oedipus othello means different theatrical practices must take account that there have been many int
erpretations productions each their respected plays differing presentations each lead someone think
differently about play than another would comparing contrasting dramatic representation protagonists
oedipus othello theatrical presentation costume design character will lead reader viewer have great
er insight into theatrical practices their times their approaches issue verisimilitude presentation
both plays very similar plays would both presented thrust stage which platform surrounded three side
s audience except backdrop which would have some element scenery stage itself bare apart from scenic
elements props othello like most shakespeare what called abstract setting that setting which locale
change rapidly indicated script that changed most likely suggested props abstract settings place mo
re emphasis language performer causes spectator imagination also places more emphasis costuming this
type setting helped style representational theater places high emphasis realistic style used classi
cal greece presentational because mask gave illusion this story happening before eyes audience remin
ded they watching play merely observing life thus thrust stage only similarity types presentation pu
rely illusionistic play whereas oedipus when watched viewer knows they watching performance costumes
convey information about character tone mood production because most acting involves impersonation
costumes essential create historical period production takes place costumes like william shakespeare
maybe abstract ever changing like when using costume design latest film version usually seen toga u
niform stemmed from moor background since costume elements were formalized classical greek theater e
veryday dress with slight additions colour designs created larger meaning context additions toga als
o contributed accentuating case thebes toga could been coloured sand ornament sphinx tooth signifyin
g bravery killing beast case uniform general insignia shoulders much film scars tattoos showing suff
ering gone through issue verisimilitude actors required wear mask bearing expression stay throughout
place making seem flat general round because mask dimensional projection audience worn clothing tim
e this common both absence meant actor provided expressions thus worn life classical greece robbed v
iewer three dimensional projection withheld expressions actor actor acts they impersonate believably
create historical fictional developed into round characters round characters those well developed t
hree dimensionally with multiple meaning characters fate cannot avoided ever path seems take leads m
ore trouble than what deal with before even though well rounded believable highly unlikely marry wom
an looked could mother without asking questions about past marriages children could caused some insi
ght questions arisen first child sent away thought dead other hand well rounded believable filled je
alousy mistrust learns wife sleeping another anyone been love feeling once while feeling being perso
n whom trust devastating person iago continually feeds suspicion hurt mistrust grows wife until fina
lly kills seen news everyday jealous lover kills other half were seen another thus cannot believed a
bsurd circumstances marriage jocasta believed jealousy invades time chose upon much those society to
day conclusion comparing contrasting dramatic representation protagonists differences presentations
regard styles presentational representational theater similarities approach design approaches validi
ty realistic gives great insight these different dramatic periodsEssay, essays, termpaper, term pape
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