Otello in the context of "Stage design"

The Tragedy of Othello, the Moor of Venice, often shortened to Othello, is a tragedy written by William Shakespeare around 1603. Set in Venice and Cyprus, the play depicts the Moorish military commander Othello as he is manipulated by his ensign, Iago, into suspecting his wife Desdemona of infidelity. Othello is widely considered one of Shakespeare's greatest works and is usually classified among his major tragedies alongside Macbeth, King Lear, and Hamlet. Unpublished in the author's life, the play survives in one quarto edition from 1622 and in the First Folio.

Othello has been one of Shakespeare's most popular plays, both among playgoers and literary critics, since its first performance, spawning numerous stage, screen, and operatic adaptations. Among actors, the roles of Othello, Iago, Desdemona, and Emilia (Iago's wife) are regarded as highly demanding and desirable. Critical attention has focused on the nature of the play's tragedy, its unusual mechanics, its treatment of race, and on the motivations of Iago and his relationship to Othello. Originally performed by white actors in dark makeup, the role of Othello began to be played by black actors in the 19th century.

Macbeth (Italian pronunciation: [ˈmakbet], also [makˈbɛt]) is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on William Shakespeare's play of the same name. Written for the Teatro della Pergola in Florence, Macbeth was Verdi's tenth opera and premiered on 14 March 1847. It was the first Shakespeare play that Verdi adapted for the operatic stage. Almost twenty years later, Macbeth was revised and expanded into a French version and given in Paris on 21 April 1865.

After the success of Attila in 1846, by which time the composer had become well established, Macbeth came before the great successes of 1851 to 1853 (Rigoletto, Il trovatore and La traviata) which propelled him into universal fame. As sources, Shakespeare's plays provided Verdi with lifelong inspiration: some, such as an adaption of King Lear (as Re Lear) were never realized, but he wrote his two final operas using Othello as the basis for Otello (1887) and The Merry Wives of Windsor as the basis for Falstaff (1893).

Scenic design, also known as stage design or set design, is the creation of scenery for theatrical productions including plays and musicals. The term can also be applied to film and television productions, where it may be referred to as production design. Scenic designers create sets and scenery to support the overall artistic goals of the production. Scenic design is an aspect of scenography, which includes theatrical set design as well as light and sound.

Modern scenic designers are increasingly taking on the role of co-creators in the artistic process, shaping not only the physical space of a production but also influencing its blocking, pacing, and tone. As Richard Foreman famously stated, scenic design is a way to "create the world through which you perceive things happening." These designers work closely with the director, playwright, and other creative members of the team to develop a visual concept that complements the narrative and emotional tone of the production. Notable scenic designers who have embraced this collaborative role include Robin Wagner, Eugene Lee, and Jim Clayburgh

Giuseppe Fortunino Francesco Verdi (/ˈvɛərdi/ VAIR-dee, Italian: [dʒuˈzɛppe ˈverdi]; 9 or 10 October 1813 – 27 January 1901) was an Italian composer best known for his operas. He was born near Busseto, a small town in the modern province of Parma (at the time a department of the French Empire), to a family of moderate means, receiving a musical education with the help of a local patron, Antonio Barezzi. Verdi came to dominate the Italian opera scene after the era of Gioachino Rossini, Vincenzo Bellini, and Gaetano Donizetti, whose works significantly influenced him.

In his early operas, Verdi demonstrated sympathy with the Risorgimento movement which sought the unification of Italy. He also served briefly as an elected politician. The chorus "Va, pensiero" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi did not seek to ingratiate himself with popular movements. As he became professionally successful, he was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He found further fame with the three peaks of his 'middle period': Rigoletto (1851), Il trovatore and La traviata (both 1853). He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893).

Falstaff (Italian pronunciation: [ˈfalstaf]) is a comic opera in three acts by the Italian composer Giuseppe Verdi. The Italian-language libretto was adapted by Arrigo Boito from the play The Merry Wives of Windsor and scenes from Henry IV, Part 1 and Part 2, by William Shakespeare. The work premiered on 9 February 1893 at La Scala, Milan.

Verdi wrote Falstaff, the last of his 26 operas, as he approached the age of 80. It was his second comedy, and his third work based on a Shakespeare play, following Macbeth and Otello. The plot revolves around the thwarted, sometimes farcical, efforts of the fat knight Sir John Falstaff to seduce two married women to gain access to their husbands' wealth.

Otello is a 1906 Italian silent film based on the 1887 opera of the same name by Giuseppe Verdi, both being based on the William Shakespeare play Othello. The film was directed by and starred Mario Caserini, playing opposite his wife Maria Caserini. It is believed to be the earliest film adaptation of the play, released in Italy on 30 October 1906.

Gaston Velle is also credited as co-director.

Arrigo Boito (Italian: [arˈriːɡo ˈbɔito]; born Enrico Giuseppe Giovanni Boito; 24 February 1842 – 10 June 1918) was an Italian librettist, composer, poet and critic whose only completed opera was Mefistofele. Among the operas for which he wrote the libretti are Giuseppe Verdi's monumental last two operas Otello and Falstaff as well as Amilcare Ponchielli's La Gioconda.

Along with Emilio Praga and his brother Camillo Boito, he is regarded as one of the prominent representatives of the Scapigliatura (Italian bohemian) artistic movement. He wrote essays under the anagrammatic pseudonym of Tobia Gorrio.