http://hdl.handle.net/11089/38567 2026-04-09T16:51:32Z 2026-04-09T16:51:32Z Georgopoulou, Xenia http://hdl.handle.net/11089/38620 2021-08-11T01:30:18Z 2020-12-30T00:00:00Z

Theatre Reviews Georgopoulou, Xenia

2020-12-30T00:00:00Z Li, Limin Jiang, Qian http://hdl.handle.net/11089/38619 2021-08-11T01:30:28Z 2020-12-30T00:00:00Z

Book Reviews Li, Limin; Jiang, Qian

2020-12-30T00:00:00Z Kowalcze-Pawlik, Anna http://hdl.handle.net/11089/38618 2022-06-03T06:29:28Z 2020-12-30T00:00:00Z

The Moor’s Political Colour: Race and Othello in Poland Kowalcze-Pawlik, Anna This paper provides a brief outline of the reception history of Othello in Poland, focusing on the way the character of the Moor of Venice is constructed on the page, in the first-published nineteenth-century translation by Józef Paszkowski, and on the stage, in two twentieth-century theatrical adaptations that provide contrasting images of Othello: 1981/1984 televised Othello, dir. Andrzej Chrzanowski and the 2011 production of African Tales Based on Shakespeare, in which Othello’s part is played by Adam Ferency (dir. Krzysztof Warlikowski). The paper details the political and social contexts of each of these stage adaptations, as both of them employ brownface and blackface to visualise Othello’s “political colour.” The function of blackface and brownface is radically different in these two productions: in the 1981/1984 Othello brownface works to underline Othello’s overall sense of alienation, while strengthening the existing stereotypes surrounding black as a skin colour, while the 2011 staging makes the use of blackface as an artificial trick of the actor’s trade, potentially unmasking the constructedness of racial prejudices, while confronting the audience with their own pernicious racial stereotypes.

2020-12-30T00:00:00Z Baldwin Lind, Paula http://hdl.handle.net/11089/38617 2021-08-11T01:30:25Z 2020-12-30T00:00:00Z

“Far more fair than black”: Othellos on the Chilean Stage Baldwin Lind, Paula This article reviews part of the stage history of Shakespeare’s Othello in Chile and, in particular, it focuses on two performances of the play: the first, in 1818, and the last one in 2012-2020. By comparing both productions, I aim to establish the exact date and theatrical context of the first Chilean staging of the Shakespearean tragedy using historical sources and English travellers’ records, as well as to explore how the representation of a Moor and of blackness onstage evolved both in its visual dimension — the choice of costumes and the use of blackface—, and in its racial connotations alongside deep social changes. During the nineteenth century Othello became one of the most popular plays in Chile, being performed eleven times in the period of 31 years, a success that also occurred in Spain between 1802 and 1833. The early development of Chilean theatre was very much influenced not only by the ideas of the Spaniards who arrived in the country, but also by the available Spanish translations of Shakespeare; therefore, I argue that the first performances of Othello as Other — different in origin and in skin colour — were characterised by an imitative style, since actors repeated onstage the biased image of Moors that Spaniards had brought to Chile. While the assessment of Othello and race is not new, this article contrasts in its scope, as I do not discuss the protagonist’s actual origin, but how the changes in Chilean social and cultural contexts can reshape and reconfigure the performance of blackness and turn it into a meaningful translation of the Shakespearean Moor that activates audiences’ awareness of racism and fears of miscegenation.

2020-12-30T00:00:00Z