Othello in the context of Macbeth

Euripides (/jʊəˈrɪpɪdiːz/; Ancient Greek: Eὐριπίδης, romanized: Eurīpídēs, pronounced [eu̯.riː.pí.dɛːs]; c. 480 – c. 406 BC) was a Greek tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three authors of Greek tragedy for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the Suda says it was ninety-two at most. Nineteen plays attributed to Euripides have survived more or less complete, although one of these (Rhesus) is often considered not to be genuinely his work. Many fragments (some of them substantial) survive from most of his other plays. More of his plays have survived intact than those of Aeschylus and Sophocles together, partly because his popularity grew as theirs declined: he became, in the Hellenistic Age, a cornerstone of ancient literary education, along with Homer, Demosthenes, and Menander.

Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He was referred to by Aristotle as "the most tragic of poets", probably in reference to a perceived preference for unhappy endings, but Aristotle's remark is seen by Bernard Knox as having wider relevance, since "in his representation of human suffering Euripides pushes to the limits of what an audience can stand; some of his scenes are almost unbearable." Focusing on the inner lives and motives of his characters in a way previously unknown, Euripides was "the creator of ... that cage which is the theatre of Shakespeare's Othello, Racine's Phèdre, of Ibsen and Strindberg," in which "imprisoned men and women destroy each other by the intensity of their loves and hates". But he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw.

The title character in a narrative work is one who is named or referred to in the title of the work. In a performed work such as a play or film, the performer who plays the title character is said to have the title role of the piece. The title of the work might consist solely of the title character's name – such as Michael Collins or Othello – or be a longer phrase or sentence – such as Alice's Adventures in Wonderland or The Adventures of Tom Sawyer. The title character is commonly – but not necessarily – the protagonist of the story. Narrative works routinely do not have a title character and there is some ambiguity in what qualifies as one.

Examples in various media include Figaro in the opera The Marriage of Figaro, Giselle in the ballet of the same name, the Doctor in the TV series Doctor Who, Dr. Gregory House of the TV series House, Mario and Luigi in the video game Super Mario Bros., Harry Potter in the series of novels and films, and Romeo Montague and Juliet Capulet in the play Romeo and Juliet.

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).

Cymbeline (/ˈsɪmbɪliːn/), also known as The Tragedie of Cymbeline or Cymbeline, King of Britain, is a play by William Shakespeare set in Ancient Britain (c. 10–14 AD) and based on legends that formed part of the Matter of Britain concerning the early historical Celtic British King Cunobeline. Although it is listed as a tragedy in the First Folio, modern critics often classify Cymbeline as a romance or even a comedy. Like Othello and The Winter's Tale, it deals with the themes of innocence and jealousy. While the precise date of composition remains unknown, the play was certainly produced as early as 1611.

Othello and Desdemona in Venice (French: Othello et Desdemone à Venise) is an 1850 oil painting by the French artist Théodore Chassériau. Inspired by William Shakespeare's 1604 tragedy Othello, it depicts Othello and his lover Desdemona amongst the canals of Venice. Works based on Shakespeare were a common theme during the romantic era. The painting is now in the collection of the Louvre in Paris, having been acquired in 1934

Théodore Chassériau (French pronunciation: [teɔdɔʁ ʃaseʁjo]; Spanish: Teodoro Chasseriau; September 20, 1819 – October 8, 1856) was a Dominican-born French Romantic painter noted for his portraits, historical and religious paintings, allegorical murals, and Orientalist images inspired by his travels to Algeria. Early in his career he painted in a Neoclassical style close to that of his teacher Jean-Auguste-Dominique Ingres, but in his later works he was strongly influenced by the Romantic style of Eugène Delacroix. He was a prolific draftsman, and made a suite of prints to illustrate Shakespeare's Othello. The portrait he painted at the age of 15 of Prosper Marilhat makes Chassériau the youngest painter exhibited at the Louvre museum.

Othello is the titular protagonist in Shakespeare's Othello (c. 1601–1604). The character's origin is traced to the tale "Un Capitano Moro" in Gli Hecatommithi by Giovanni Battista Giraldi Cinthio. There, he is simply referred to as the Moor.

Othello was first mentioned in a Revels account of 1604 when the play was performed on 1 November at Whitehall Palace with Richard Burbage almost certainly Othello's first interpreter. Modern notable performers of the role include Paul Robeson, Orson Welles, Richard Burton, James Earl Jones, Laurence Fishburne, Laurence Olivier, Patrick Stewart, and Avery Brooks.

Iago (/iˈɑːɡoʊ/) is a fictional character in Shakespeare's Othello (c. 1601–1604). Iago is the play's main antagonist and Othello's standard-bearer. He is the husband of Emilia who is in turn the attendant of Othello's wife Desdemona. Iago hates Othello and devises a plan to destroy him by making him believe that Desdemona is having an affair with his lieutenant, Michael Cassio. With 1,097 lines, Iago has more lines in the play than Othello himself.

Desdemona (/ˌdɛzdəˈmoʊnə/) is a character in William Shakespeare's play Othello (c. 1601–1604). Shakespeare's Desdemona is a Venetian beauty who enrages and disappoints her father, a Venetian senator, when she elopes with Othello, a Moorish Venetian military prodigy. When her husband is deployed to Cyprus in the service of the Republic of Venice, Desdemona accompanies him. There, her husband is manipulated by his ensign Iago into believing she is an adulteress, and, in the last act, she is murdered by her estranged spouse.

Otello (Italian pronunciation: [oˈtɛllo]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, first performed at the Teatro alla Scala, Milan, on 5 February 1887.

The composer was reluctant to write anything new after the success of Aida in 1871, and he retreated into retirement. It took his Milan publisher Giulio Ricordi the next ten years, first to encourage the revision of Verdi's 1857 Simon Boccanegra by introducing Boito as librettist and then to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for Otello in July/August 1881. However, the process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on. It was not until 1884, five years after the first drafts of the libretto, that composition began, with most of the work finishing in late 1885. When it finally premiered in Milan on 5 February 1887, it proved to be a resounding success, and further stagings of Otello soon followed at leading theatres throughout Europe and America.

Blackface is the practice of performers using burned cork, shoe polish, or theatrical makeup to portray a caricature of black people on stage or in entertainment. Scholarship on the origins or definition of blackface vary with some taking a global perspective that includes European culture and Western colonialism. Blackface became a global phenomenon as an outgrowth of theatrical practices of racial impersonation in theatres across the British Empire, where it was integral to the development of imperial racial politics. Scholars with this wider view may date the practice of blackface to as early as Medieval Europe's mystery plays when bitumen and coal were used to darken the skin of white performers portraying demons, devils, and damned souls. Still others date the practice to English Renaissance theater, in works such as William Shakespeare's Othello and Anne of Denmark's personal performance in The Masque of Blackness.

However, some scholars see blackface as a specific practice limited to American culture that began in the minstrel show; a performance art that originated in the United States in the early 19th century and which contained its own performance practices unique to the American stage. Scholars taking this point of view see blackface as arising not from a European stage tradition but from the context of class warfare from within the United States, with the American white working poor inventing blackface as a means of expressing their anger over being disenfranchised economically, politically, and socially from middle and upper class White America.

The late romances, often simply called the romances, are a grouping of William Shakespeare's last plays, comprising Pericles, Prince of Tyre; Cymbeline; The Winter's Tale; and The Tempest. The Two Noble Kinsmen, of which Shakespeare was co-author, is sometimes also included in the grouping. The term "romances" was first used for these late works in Edward Dowden's Shakspere (1877). Later writers have generally been content to adopt Dowden's term.

Shakespeare's plays cannot be precisely dated, but it is generally agreed that these comedies followed a series of tragedies including Othello, King Lear and Macbeth. Shakespeare wrote tragedies because their productions were financially successful, but he returned to comedy towards the end of his career, mixing it with tragic and mystical elements. Shakespeare's late romances were also influenced by the development of tragicomedy and the extreme elaboration of the courtly masque as staged by Ben Jonson and Inigo Jones. The subjects and style of these plays were also influenced by the preference of the monarch, by Shakespeare's ageing company and by their more upper class audiences.

Bad faith (Latin: mala fides) is a sustained form of deception which consists of entertaining or pretending to entertain one set of feelings while acting as if influenced by another. It is associated with hypocrisy, breach of contract, affectation, and lip service. It may involve intentional deceit of others, or self-deception.

Some examples of bad faith include: soldiers waving a white flag and then firing when their enemy approaches to take prisoners (cf. perfidy); a company representative who negotiates with union workers while having no intent of compromising; a prosecutor who argues a legal position that he knows to be false; and an insurer who uses language and reasoning which are deliberately misleading in order to deny a claim.

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.

Millions of performances of William Shakespeare's plays have been staged since the end of the 16th century. While Shakespeare was alive, many of his greatest plays were performed by the Lord Chamberlain's Men and King's Men acting companies at the Globe and Blackfriars Theatres. Among the actors of these original performances were Richard Burbage (who played the title role in the first performances of Hamlet, Othello, Richard III and King Lear), Richard Cowley, and William Kempe. Some of the roles in Shakespeare's plays were likely played by Shakespeare himself.

Shakespeare's plays continued to be staged after his death until the Interregnum (1642–1660), when most public stage performances were banned by the Puritan rulers. After the English Restoration, Shakespeare's plays were performed in playhouses, with elaborate scenery, and staged with music, dancing, thunder, lightning, wave machines, and fireworks. During this time the texts were "reformed" and "improved" for the stage, an undertaking which has seemed shockingly disrespectful to posterity.

James Earl Jones (January 17, 1931 – September 9, 2024) was an American actor. A pioneer for black actors in the entertainment industry, he is known for his extensive and acclaimed roles on stage and screen. Jones is one of the few performers to achieve the EGOT (Emmy, Grammy, Oscar, and Tony). He was inducted into the American Theater Hall of Fame in 1985, and was honored with the National Medal of Arts in 1992, the Kennedy Center Honor in 2002, the Screen Actors Guild Life Achievement Award in 2009, and the Academy Honorary Award in 2011.

Born in Arkabutla, Mississippi, during the Jim Crow era (the period of racial segregation in the Southern United States), Jones overcame a childhood stutter. A pre-med major in college, he served as an officer in the U.S. Army during the Korean War before pursuing a career in acting. His deep voice was praised as a "stirring basso profondo that has lent gravel and gravitas" to his projects. Jones made his Broadway debut in the play Sunrise at Campobello (1957) and gained fame starring in several productions with Shakespeare in the Park including Othello (1964), Coriolanus (1965), Hamlet (1972), and King Lear (1973).

Emilia is a character in the tragedy Othello by William Shakespeare. She is married to Othello's ensign Iago, and is a maidservant to Othello's wife, Desdemona.

Michael Cassio, or simply Cassio (/ˈkæsioʊ/), is a fictional character in William Shakespeare's Othello. The source of the character is the 1565 tale "Un Capitano Moro" by Cinthio; Cassio is unnamed in Cinthio but referred to as "the squadron leader". In the play, Cassio is a young and handsome lieutenant under Othello's command who becomes one of Iago's several victims in a plot to ruin Othello.