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Chapter 11. The circumcised dog and the subtle whore

Race and gender in the musical adaptations of Shakespeare’s Othello
  • Alina Bottez
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<i>Othello</i> in European Culture
Ein Kapitel aus dem Buch <i>Othello</i> in European Culture

Abstract

This chapter continues the research I have specialised in – the adaptation of Shakespeare’s plays into music and the analysis of the historical, social, religious, and cultural context of the librettos as paramount to the process of transmediation. The study compares Othello to Rossini’s and Verdi’s homonymous operas, Yutkevich’s 1956 Soviet film with music by Khachaturian, Fibich’s 1873 symphonic poem Othello, and Ledecký’s 2013 musical, Iago. From a thematic point of view, this study analyses a number of disquieting black-and-white dichotomies and analyses the authors’ approach to race and gender in the play and its musical adaptations. I conclude that the felicitous entwinement between dramatic warp and musical invention in these remediations is enriching, increasing the fame and popularity of Shakespeare’s tragedy.

Abstract

This chapter continues the research I have specialised in – the adaptation of Shakespeare’s plays into music and the analysis of the historical, social, religious, and cultural context of the librettos as paramount to the process of transmediation. The study compares Othello to Rossini’s and Verdi’s homonymous operas, Yutkevich’s 1956 Soviet film with music by Khachaturian, Fibich’s 1873 symphonic poem Othello, and Ledecký’s 2013 musical, Iago. From a thematic point of view, this study analyses a number of disquieting black-and-white dichotomies and analyses the authors’ approach to race and gender in the play and its musical adaptations. I conclude that the felicitous entwinement between dramatic warp and musical invention in these remediations is enriching, increasing the fame and popularity of Shakespeare’s tragedy.

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents v
  3. List of contributors vii
  4. Introduction. “I would my [European] pilgrimage dilate” 1
  5. Part 1. Trans(national) subjects
  6. Chapter 1. Charles Mathews’s Othello, the Moor of Fleet Street (1833) and Maurice Dowling’s Othello Travestie (1834) 29
  7. Chapter 2. Othello in Spain (1802–1844) 49
  8. Chapter 3. Traditions of playing and spectating 63
  9. Chapter 4. Othello on the German stage 81
  10. Part 2. Othello and European constructions of alterity
  11. Chapter 5. Othello’s race and slavery 99
  12. Chapter 6. From black to white, from man to beast, from tragical to comical 113
  13. Chapter 7. Let it be hid? 133
  14. Chapter 8. “It is all about passion” 153
  15. Part 3. Adapting Othello
  16. Chapter 9. Adapting Othello for television in late Francoist Spain 173
  17. Chapter 10. Pulling the strings 191
  18. Chapter 11. The circumcised dog and the subtle whore 205
  19. Chapter 12. “It is not words that shakes me thus” 225
  20. Chapter 13. A selective timeline of Othello in European culture 247
  21. Index 261
https://doi.org/10.1075/sec.3.11bot

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents v
  3. List of contributors vii
  4. Introduction. “I would my [European] pilgrimage dilate” 1
  5. Part 1. Trans(national) subjects
  6. Chapter 1. Charles Mathews’s Othello, the Moor of Fleet Street (1833) and Maurice Dowling’s Othello Travestie (1834) 29
  7. Chapter 2. Othello in Spain (1802–1844) 49
  8. Chapter 3. Traditions of playing and spectating 63
  9. Chapter 4. Othello on the German stage 81
  10. Part 2. Othello and European constructions of alterity
  11. Chapter 5. Othello’s race and slavery 99
  12. Chapter 6. From black to white, from man to beast, from tragical to comical 113
  13. Chapter 7. Let it be hid? 133
  14. Chapter 8. “It is all about passion” 153
  15. Part 3. Adapting Othello
  16. Chapter 9. Adapting Othello for television in late Francoist Spain 173
  17. Chapter 10. Pulling the strings 191
  18. Chapter 11. The circumcised dog and the subtle whore 205
  19. Chapter 12. “It is not words that shakes me thus” 225
  20. Chapter 13. A selective timeline of Othello in European culture 247
  21. Index 261
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Heruntergeladen am 29.9.2025 von https://www.degruyterbrill.com/document/doi/10.1075/sec.3.11bot/html
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