A look at the factors involved in designing costumes for Shakespeare's play, "Othello", and some of the problems associated with this task.
Written in 2004; 2,198 words; 8 sources; MLA; $ 68.95
Paper Summary:
This paper discusses four different productions of "Othello" and examines whether the costumes in each production adequately reflect the personalities of each of the characters and the era in which they lived.
From the Paper:
"Designing costumes for Othello, in whatever form--play, ballet or opera, presents a few problems from the outset. First, of course, is the necessity for the costume to enhance the feeling of paranoia of Othello, a Moor in a Caucasian society. Second, Iago needs to be malevolent without being evil personified; he is, perhaps, simply overly worldly and overly ambitious, as is his wife, Emily. And third, Desdemona has to be understandable in the context of her own time, and of ours. While it may have been usual then for a woman to trust even when reason would tell her not to, it isn?t so today."
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