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Produce a detailed, evaluative comparison of the presentation of III.3. in the Nunn, Burge and Welles productions of Othello.

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Introduction

Produce a detailed, evaluative comparison of the presentation of III.3. in the Nunn, Burge and Welles productions. Contrast and evaluate the reflective effectiveness of each production, with close focus on characterisation through several differing critical interpretations. Make key context points in passing. There are clear similarities and differences between the Welles, Nunn and Burge versions of Othello, and the purposes of these productions must be taken into account. Welles and Nunn have created feature film adaptations, which therefore concentrate on showing strong characters, moods and tones, and which focuses on the relationship between Othello and Iago. Burge, however, has interpreted the play into a film of a stage production, which would naturally focus more on moods and atmosphere, thus emphasising tone of voice and movements. Welles's and Nunn's versions of Othello both portray Othello as A.C. Bradley's "romantic figure", full of passion and emotion, and not afraid to show his feelings. This is evident in parts of the scene where Othello shows his jealousy, saying "but I do love thee; and when I love thee not, chaos is come", which fully exposes his true heart-felt feelings towards Desdemona. ...read more.

Middle

Throughout the majority of Welles's production, Othello appears to mourn the loss of his wife to Cassio, as if he has already given up hope. Although at first disbelieving, Othello becomes angry, passionate and full of rage and hatred. Clearly this is the effect of "the green-eyed monster" Iago warns him of in the scene. Iago, being Othello's alleged faithful friend and advisor, is quick to place the blame upon Michael Cassio, so as to comfort him, although he does so still with the feeling that he is slightly afraid of Othello, leaving us with the sense that Othello still has authority over Iago. Nunn's depiction is similar, in some aspects, to Welles's illustration of the scene, although Iago is portrayed as more of a cunning, deceitful, evil character. Othello's mood, attitude and feelings throughout the scene reflect authority and power, as he follows A.C. Bradley's analysis of his character as "romantic". Othello is unwilling to accept that his wife has been unfaithful to him, staying calm and appearing trusting for the first part of his and Iago's conversation. However, once Iago has left the scene, Othello reveals his true feelings, getting angry and upset both at himself and at Desdemona. ...read more.

Conclusion

line 434. Although harsh and ferocious, the "romantic figure" is still visible, as Othello does everything he does in the name of love, and his passion and love for Desdemona is ever clear. Burge and Welles's portrayals of this scene are not as aggressive, passionate and fiery, showing how Othello does not have the same intense love towards his wife, as in Nunn's production. Contradictory to Germaine Greer's 1986 analysis of the play as "the struggle of good and evil", Nunn and Welles concentrate on the more subtle but significant themes of love, passion and relationships. Although the play can and has been seen as a tragedy about a "self-approving... self-centred" Moor and his struggle for power, authority, and more importantly keeping it, the more significant, stronger and powerful tale of a passionate love that ends in tragedy is strong in Welles and Nunn's versions of the play. The two contrasting views of Othello are from opposite sides of the spectrum, as he is either portrayed as Bradley's "romantic figure" or Leavis's "soldier of fortune". Iago, on the other hand, is almost always played as cunning, evil and suspicious, although with either a lot or not enough confidence to stand up to Othello. ...read more.

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