The Picino Production with Al Picino, Jeremy Iroris and Joseth Fiennes (2004) of Shakespeare’s The Merchant of Venice is one that has remarkable visual and performative choices that alter the way in which certain characters may be portrayed on paper. In this performance, Portia is racist as she insults the Prince of Morocco because he is a man of color. Portia’s performance is presented in a jovial manner even though the implications of her actions are of a serious matter.
Portia chuckles with Nerissa in the midst of revealing her opinions about her suitors. This becomes an inside joke for the two women, especially Portia because the men think she is vested in wanting a suitor through the will of her father. This conversation takes place
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His interior is displayed on the outside in the presence of Portia by his white robe. The robe symbolizes his innocence and humanizes the Prince past the outer layer that Portia sees. The interpretation of the directors in this scene reveals the reality of Portia’s character. Staging their conversation in a public space juxtaposes Portia’s feelings in public as opposed to her feelings in private with Nerissa. In presenting the private conversation as jovial, Portia’s disinterest and uncaringness for her possible suitors is evident. Likewise, the choice of dressing the Prince in white in the presence of Portia shows the production’s attempt to bring out the Prince’s inside and in a sense making him appear “white” for Portia to change her mind about him. By doing this, the production allows the audience to understand the racism in Portia as she still makes hint to his “fairness” or lack thereof.
The production does a great job in contrasting Portia’s private life and her public life which shows Portia’s racism. In contrasting the public and private sphere, the production strengthens the contrast between the Portia and The Prince’s inner and outer identities and the way in which these identifications are affected. In the choice of clothing and expression in the scenes mentioned above Portia's racist and selfish nature is in direct contrast to the Prince's humility and earnestness to please
Racism seems to be a big concern in Shakespeare’s tragic play, Othello. Because the hero of the play is an outsider, a Moor, we have an idea how blacks were regarded in England, in Elizabethan times. There are many references that bring about the issue of racism from the very beginning to the end. In the tragedy, where Othello is coming from is not mentioned, yet through the descriptions the reader is informed that he belongs to one of the Eastern nationalities such as African, Ottoman Turk or Arab. In this paper I am going to analyze some episodes involving a prejudicial, racist attitude and try to discuss whether Shakespeare was a racist or not. Even though the play is full of offensive definitions of black
Texts reflect their contexts and this is evident in both William Shakespeare’s Othello and Geoffrey Sax’s film Othello. This reflection is established through the two ideas of racism and the inequality between genders. The context of a text plays an essential role as it is the way in which the composers convey their message and this is done effectively as both composers are conveying an important message about racism and gender inequality.
Without racial comparisons, the story would only be a tragedy, reading as a criticism of hasty racial categorization because of the suffering it brings, but with them it is a depiction of a flawed system that has rewarded a black man. Chopin first contrasts Armand’s tendency to take on “the very spirit of Satan” in dealing with slaves with the more relaxed relationship they had with his father (441). Looking upon L’Abri, Madame Valmonde is troubled to realize that under Young Aubigny’s rule “his negroes had forgotten how to be gay, as they had been during the old master’s easy-going and indulgent lifetime” (440). Additionally, Madame Valmonde’s sadness upon seeing the estate may indicate that Monsieur Valmonde, a white man like Armand’s father, lacks young Aubigny’s cruelty. Armand’s lack of compassion is seen again upon realizing his son’s black heritage. Feeling that “Almighty God had dealt cruelly and unjustly with him” by giving him a quadroon child, Armand asks Desiree and the child to leave L’Abri (442). In contrast, Monsieur Valmonde’s treatment of Desiree as “the idol of Valmonde” depicts his compassion toward a child who may potentially be black (440). Chopin’s racist undertones are realized as the dark-skinned Armand, characterized by volatility and callousness, is meant to be looked upon much less favorably than the story’s compassionate white slave owners.
Throughout the years the play Othello by William Shakespeare has been adapted both on the screen and on stage many times. The questions or race and racism that have quite often been a point of discussion with William Shakespeare’s play Othello can be seen through the bard, however some may argue that Othello’s skin colour was purely a plot device. This paper will look at two film that have been re-made since the 1960’s, which provides an analysis of the concept of race and how political ideas and events of that time have influenced each adaptation. It will be seen that the film version of Othello directed by Oliver Parker in 1995 compared to the film version directed by Geoff Sax in 2001 present’s race with differing degrees.
Three sources analyze the racial conflicts of white actors playing colored parts, and all agreed that it was not a trivial situation, for audiences, or actors. Racial tensions are very popular with the media. While there is some minor tension today, the movies and plays of Othello top the charts for most racial conflicts. First, The article, “Othello: the role that entices and engages actors of all skin colours,” by Andrew Dickson shows the history of the actors that played Othello, and when the actors were black, they were either not cast, due to segregationists, or were criticized in their performance for the same reason. Also, this article uses diction to convey the seriousness of white vs. minority crisis. Next, the video, “SHAKESPEARE UNCOVERED White Actors Playing Othello” by PBS, shows the performances of many Othello actors that were white. Additionally, the video shows one white actor who used makeup to make himself more than than black. The video uses hyperbole to describe the absurdity of Othello movies. For example, Laurence Olivier, the 1964 Othello was black-top showing how far film industries will go to cover-up racial tensions, and the narrator describes the makeup as ridiculous,and dramatic. Finally, the last article, “Aladdin: putting a white character in Disney’s live-action remake is offensive,” by Hannah Flint displays that film industries feel obligated to please a white audience, keeping the minorities second fiddle by adding characters white people
Throughout time, writing has evolved such that gender, race and creed have taken on a more pivotal role in fiction. Some people argue that race in William Shakespeare’s tragedy, “Othello,” is hardly an issue. However, to many people, race is everything in “Othello. The challenges that Othello, the lead character, faces are directly attributed to his “Moor” complexion and if he were of a different nationality, the outcome of his situation would have been drastically different. These claims are supported by the articles of “Othello’s Alienation” by Edward Berry and “Race Mattered: Othello in Late Eighteenth-Century England” by Virginia Mason Vaughan that argue that race is a major element in “Othello.”
By tracing back the early roles of Shylock done in the Elizabethan stage, we are able to appreciate the complexity of Shakespear’s character, Shylock, and how he has the greatest impact than any other character.
The issue of race is one filled with controversy and passion, even today in the twenty-first centaury. In today’s day and age it is more shuttle and underground then it was in its most recent ‘hay-day’. In our time today we see it as more of a shameful, offensive and intolerant thing, but it was the norm in the early 15th and 16th century. Today those people that are outwardly racist are seen as outcasts. In this essay I will tempt to show how even though it was the norm in Victorian England, Shakespeare already had another mind set, and was trying in this creative way that the mind set of the people was not correct even for that time. How and why did Shakespeare purposely portray Othello the Moor as a tragic hero, like Hamlet or King
Portia is a bachelorette in Belmont, the heiress to her dead father’s fortune, which attracts men from all over the world. ‘In Belmont is a lady richly left; And she is fair, and fairer than that word...For the four winds blow in from every coast renowned suitors’ ( I, i, 161 – 169). Portia loves her recently deceased father and this is shown when she decides to carry on with the casket challenge for her suitors that her father started. The men that arrive, wanting Portia’s hand in marriage are all drunk and boisterous and she isn’t particularly attracted to them but she is obliged to, because of her father’s wishes. The way Portia acts towards her father shows how much she loved him, unlike Jessica’s attitude towards her father.
Othello by William Shakespeare raises the issue of how rampant beliefs and attitudes in a society can cause a person to question their sense of self. In a society where racial equality is near non-existent, Othello, a black skinned foreigner in the Venetian society, is constantly reminded of his status as an outsider. Othello, however, is not depicted in a stereotypical manner and despite occupying a highly respected position he is often confronted with blatant racism throughout the play. The prevailing attitudes and beliefs of Venetian society towards Othello are exploited by Iago in order to manipulate Othello’s self confidence and emotional state.
Portia is describing to Brutus that by excluding her from his secret, that she has been reduced to his concubine. Brutus responds to Portia's statement by stating, "You are my true and honorable wife, /As dear to me as are the ruddy drops/That visit my sad heart,"(II, I, 311-313). Brutus shows that despite, his depressed state, he still loves and cares for his wife showing the mutual relationship Brutus and Portia share that is based on love.
Nerissa is one of Portia 's friends, she would help Portia decide on all the suitors that were arriving at the castle. She was also her waiting-maid. Nerissa was Portia 's best friend. In the enlightenment century mistress and servants didn 't have a relationship like Portia and Nerissa did. During the enlightenment, servants would be treated differently. For instance, their job was to make their mistress 's bed, to go get them coffee, and several other things. They were not allowed to be their mistress 's friend. It was mostly for them to have a very distinct relationship. But instead, Nerissa and Portia had a special bond together. Since Nerissa and Portia were really good friends they would do things together. For instance, she and Portia were going to dress as men so they could go and help their
1 scene 3 in a building in a street in Venice. The building in which
The Prince of Morocco is of a different skin colour than the other characters in the play and has many different customs. His different skin colour and exaggeration is shown in various statements such as “Mislike me not for my complexion”, “this aspect of mine hath feared the valiant… virgins of our clime hath loved it too”, “By this scimitar… I would o'erstare the sternest eyes that look, outbrave the heart most daring on the earth… mock the lion when he roars for pray... to win the lady”. This shows his very exaggerated character, describing to great lengths what he would do to be with the fair Portia, and also shows his differing skin colour. The audience would have immediately been engaged due to the introduction of a character that was not from their country. The Prince of Morocco’s differing complexion along with his very exaggerated character engages the audience effectively due to the fact that such an unusual character not known to them, with many hyperboles would have perplexed the audience and left them interested in such an exotic
William Shakespeare’s The Merchant of Venice is a perplexing story of dark humor, race, religion, identity, love, and justice. Generally, most people understand The Merchant of Venice as a comedy about a bitter and outcasted Jewish moneylender named Shylock who seeks revenge against a Christian merchant who has failed to pay his loan back. However, there are many different perspectives on whether The Merchant of Venice is a comedy or a tragedy depending on one’s views on the difference between race and religion. If one views the story as a comedy, it is a dark comedy full of many problems, especially the controversial subject matter of anti-Semitic attitudes of its Christian characters. If one views it as a tragedy, it is a tragedy that concludes with majority of its characters in a “happy ending”—that is if one agrees that Jessica’s decision of love over betraying her father and giving up her Jewish identity is indeed a happy ending.