Race-ing with the Times: theatrical Exigency and Performative Politics in Trevor Nunn’s Othello (1989)

• Autores: Susan L. Fischer
• Localización: Alicante Journal of English Studies / Revista Alicantina de Estudios Ingleses: RAEI, ISSN-e 2171-861X, ISSN 0214-4808, Nº. 25, 2012 (Ejemplar dedicado a: Global Shakespeare / coord. por José-Manuel González Fernández-de-Sevilla, Richard Wilson, Clive A. Bellis), págs. 167-177
• Idioma: inglés
• Enlaces
  • Texto completo
• Resumen

  • An almost beat-by-beat re-viewing and re-reading of the temptation scene in Trevor Nunn’s 1989 National Theatre production of Othello registered a need to query whether the director’s decision to cast a (black) opera singer rather than a (Shakespearean) actor in the demanding role of Othello had been misguided. This view presupposes that theatrical exigency – the development of a dramatic action and on-stage situation – would be highlighted over the contingency of performative politics, however vital contemporary attention to cultural matters of “inauthenticity” and “political correctness” may be regarded.