Othello, recently presented by NSD students, was no pale imitation of the worldwide vision of glory and infamy of the Moor. The play switched focus to Iago. By Utpal K Banerjee
The Tragedy of Othello, the Moor of Venice, the Bard of Avon’s magnum opus of 1603, had gone through many transformations all over the globe through the ages. The most symbolic was the Russian interpretation of the Moor’s pangs of angst and frustration — beginning with the sprawling, sea-port of immense serenity in Cyprus, then a banyan tree spreading tentacles of branches: as though by way of suspicion; later with the sinewy creepers with apparent grips of vicious malice; and finally with the mammoth plantation that firmly struck poisonous roots of wrath. The British version had the iconic Sir laurence Olivier as Othello baring his emotions in the Venetian fort and in the stormy scenes on the sea and the extended shores. The musical version, Catch Thy Soul, had its melodious run on both sides of the Atlantic.
Othello, recently presented here by the second year students of NSD, was no pale imitation of the worldwide vision of glory and infamy of the Moor. Under the firm baton of the thespian Mohan Maharishi, this time, the play switches the apparent focus from the noble Moor in the service of Venice, on to Iago, his “Ensign” who loves to hate his valiant superior Othello. Iago is now the champion chess player: planning his moves from Roderigo, the simpleton money-lending citizen on to Cassio, Othello’s new lieutenant and suspected paramour of Desdemona. Now he is the master puppeteer: manipulating the lifting and passing of the conspiratorial handkerchief: from own wife Emelia over to Cassio’s fleeting-lover Bianca. And now he is the ace villain: planting the fatal suspicion in the Moor’s mind against his bride Desdemona. Iago plays all three of his deadly games in consummate details: to the ultimate denouement of everyone. Tragedy in the classic Greek plays was an arranged one in which the characters are only play things, sans decisive roles. “Theirs but to do and die!” Tragedy in Othello comes straight from the heart of the people themselves: due to their own machinations.
The NSD play, from beginning to end, was a well-orchestrated chamber-orchestra, played out right among the spectators: collected on the stage, not seated in the expansive auditorium. Within that intimacy, plain wooden blocks became gorgeous thrones for the duchy of Vienna; pillars to hide behind; or the ship-top paraphernalia, hurled from end to end in a raging sea-storm. Curtains rose or fell to hide or reveal the backstage acting arena. Desdimona was a picture of delectable innocence. Roderigo was all bumbledom as he should be. Cassio was a knight errant wasted, as seen by Shakespeare. And Iago was an incarnation of vice, formidable as ever. Only one wished, Othello could be a little more spunky, especially in the last act when he was snuffing out the devoted damsel’s life.
Excerpts from an interview with the director.
Since it was your own translation, what liberties did you take, if anyIJ
I was faithful in general. However, I reduced length, as the Bard’s tragedies are occasionally too long. I also made the dialogue as is spoken to increase communication.
Your music was an interesting mix between classical and experimental…
Music selection was mainly by Sanjay, my son, who understands the Western genre well. We used John Cage’s Musique Concrete a lot, especially in the discrete sounds during Iago’s soliloquy, when he is preoccupied scheming.
How did you decide on your acting styleIJ
I used two different styles. In the long partying scene that is taking place in Cyprus, an island, I used Sega, which is the performative form prevalent in the island of Mauritius: full of dance, music and plenty of myths. I had lived in Mauritius for five years. For the rest of the play, the acting style has been one of heightened realism.
What has been your main idea in designing the playIJ
It is one of freedom of realism, without any illusion. I obliterated the dividing marks between the front stage and backstage. Yet, the audience should savour it as pure theatre. In the scene of sea-storm, for instance, where I use rolling wood-blocks, it just has the touch of symbolism, as too much realism — with broken ship-mast — would have spoilt modern man’s perception of reality.
How did you seek to interpret OthelloIJ
My effort was to see it from the viewpoint of students, for whom it was a learning exercise. They had to interpret for themselves the subtext of love and life.