SHAKESPEARE’S OTHELLO At the Intersection of Cultures : A Classic Tale for our Contemporary World. by Shana de Carsignac Mongwanga
SHAKESPEARE’S OTHELLO: At the Intersection of Cultures : A Classic Tale for our Contemporary World. by Shana de Carsignac Mongwanga Paper presentation for the First International Conference in Iran on Shakespeare Studies: Not of an Age but for All Ages
WRITTEN IN 2014 - COPYRIGHT Shana Mongwanga Eloko - AfricaLives ! Theatre 2014 Athena-Culture and Advocacy
INTRODUCTION: Shakespeare and Othello, formidable Ambassador to connect cultures and nations Allow me to thank the University of Teheran for organising this formidable 1rst Conference in Shakespeare: Not of an age but of all ages. As the organiser of the Shakespeare Readers Society in London, I can certainly testify of the uniqueness of the Bard's power to connect people and cultures. Once a month, a group of strangers from all walks of life and ages gather for three hours reading session and read the complete works annually. We read stories written over 400 years ago and the magical effect still operates. As the reading unfolds, we learn something about ourselves and each other, and we have a deeper understanding of our human nature. That is the extraordinary legacy of Shakespeare.
Some go to Church on Sundays, I read Shakespeare with fellow readers and it enriches my spirit in the same way if not more. Shakespeare’s Othello can be read through the lenses of many prisms. I would like to explore the various resonances this classical work has in our contemporary world by analysing recent theatre productions - from the UK mainstream theatres to the French speaking work as translated by Victor Hugo. Is Human nature is at the heart of the play or prejudice?
Historical representation of Othello on Western stage
A. The Commander in Chief: A Moor The uniqueness of this Shakespeare's work is also that he essentially wrote a play about the domestic life of man from an ethnic minority – as we would describe the Moor today. Whether Othello is meant to be a dark-skinned African or a light-skinned Arab is irrelevant. But the Bard chose to tell his story, furthermore it is the story of a former slave, who has raise to power because of his compelling human and military qualities - as acknowledged even by his enemies . Most importantly Othello is from this other culture, considered as an arch enemy of the Western world: the Barbarian. But the Bard chose to put him on equal level and footing as the nobles. Othello is at the heart of the story. How many prominent literary work, film or theatre production in 2014, would even consider doing this? Therefore it was an achievement in itself, and our century with all its technological advancement failed to achieve that, except to promote the over-used, stereotyped and victimhood narrative of slavery.
Despite the fact that a man with some African origin is currently Commander in Chief and presides over a Western power, the negative and stereotypical perception of the Black man or indeed the Arab man has not evolved one iota in many circles. The fact that his election was even consider an achievement in itself and celebrated as a global advancement in 2008 reveals how backward major sections of our human societies still are. Economical prejudice is often at the heart of such preconceptions, of course, and it is the perception of a poor African continent which is eternally perpetuated by Western societies via the condescending media and charity campaigns. With its overloading and overbearing emphasis on the negativity which stems from Africa - such as the Ebola virus recently, diseases, wars, coup d'état, ect. - rather than its richness, strength, resilience and the indomitable African spirit.
Despite enduring slavery, colonialism and neo-colonialism attempts, the African man still stands in the face of adversity. African future looks brighter: 'Africa is the world’s fastest-growing continent. Over the next decade its GDP is expected to rise by an average of 6% a year, not least thanks to foreign direct investment (which) has gone from $15 billion in 2002 to $37 billion in 2006 and $46 billion in 2012... Numbers suggest that human development in sub-Saharan Africa has made huge leaps. Secondary-school enrolment grew by 48% between 2000 and 2008 after many states expanded their education programmes and scrapped school fees. Over the past decade malaria deaths in some of the worst-affected countries have declined by 30% and HIV infections by up to 74%. Life expectancy across Africa has increased by about 10% and child mortality rates in most countries have been falling steeply '1. But all these facts are scarcely highlighted on mainstream Western media.
Furthermore, the root causes created deliberately to control and access African strategic minerals such as Congo's uranium, the blackmail tactics of civil unrest in African countries to finance European elections with African minerals, or indeed the 'Coup d'etat' attempt quietly fomented from European capitals are scarcely mention to inform a wider public. Therefore Africa is still this place of darkness for many. For instance 80% of Coltan, the minerals use in all modern technologies such computers, cell phones, Ipod, Ipad, electrical devices, ect is found in Congo and an economic warfare fuelled by multinationals to keep control of such minerals have decimated populations2. Not to mention the Uranium used in two world wars were also from Congo. Therefore a perpetual negative perception of Africa is crucial to deter from the real achievements and geopolitical interest and richness of the continent. What is also extraordinary is how this prejudice has endured in the theatre world: it is only recently that a black actors were allowed to actually play Othello.
B. Globe theatre, National Theatre, French production a la Comédie francaise or the reluctance to cast a black actor in a black role. In 1964, the UK National Theatre production featured a black-faced Laurence Olivier as Othello, and is still one of the main posters featured at the entrance of the Olivier Theatre.
In 2007, I was a volunteer steward at the Globe theatre in London - a great way to see all the plays and experience almost every seat. I tended to my duties and roar with joy and enthusiasm with the audience in an riveting production of Othello. The actor in the titled role was Eamon Walker. Like many members of the audience I was unaware this was the first time, in the history of the theatre re-created as the quintessential Elizabethan experience, that a black actor was ever cast as Othello. In France, Léonie Simaga directed Malian-born actor Bakary Sangaré - de la Comédie francaise in the 2014 production with La troupe de la Comédie Francaise at the Théatre du Vieux-Colombier. But historically the part was always played by a white actor with a blacked- up face.
Although the play in itself is not essentially about prejudice in my opinion but about human nature. Our societies, theatres, films, art and cultural worlds have demonstrated their own limitations and prejudices by their reluctance to cast a black man or other ethnicities as Othello.
C. Othello in 2013 and the reality of modern wars Very few Plays succeed in marking the time we live in with a captivating story and performance which resonates with the audience. Nicholas Hytner’s Othello with Adrian Lester for the UK National Theatre certainly succeeds in all these points. It was one of the most riveting theatre experiences I had in a long time. As a Campaigner and Theatre practitioner, it was thrilling to see both parts of my world intertwined and connect seamlessly, with the ineffable entertainment value that it provides because it is still Shakespeare, written in old English over 400 years ago.
The first element which captivated me was the set. I felt like I have been transported in Afghanistan, or Iran, or even Syria (if the War option was green-lighted back in 2013). Anywhere in the Middle-East were British soldiers and other international troops barricade themselves from the terrorists and the very people they came to 'save'.
Nicholas Hytner succeeded in his endeavour to make this Classical tale not only contemporary but also relevant. The essence is still and very much Shakespeare’s work but it is also a glimpse of the Aid workers and soldiers daily routine in these military compounds. The lighting and sound recreated a breeze of the Middle Eastern countries. It truly felt like travelling there and even wishing at some point to jump over the fences just for a moment to meet the people who inhabit these enchanting countries. Vicki Mortimer’s design, Jon Clark’s lighting, Nick Powell’s music, Kate Waters’ fight directing and Gareth Fry’s sound design contribute in recreating this world impeccably.
And then, the Performance. The fist Act is fast paced and in complete tune with the original writing but it is also unrecognisable as a Shakespearean work because it creates something new and original in all the scenes, situations, and character relationships. Lindsey Marshal’s Emilia’s character for instance is also a member of the regiment which creates an interesting dynamic with Rory Kinnear’s Iago.
Othello, the Commander in Chief loves his wife. I mean those two are so much in it you just want to get a room already. One can image their relationship just by watching them. She is one of those overachievers - probably from a UN program - who gives the impression they know it all and they are the good ones.
Therefore when the drama unfolds and Olivia Vinall’s Desdemona is caught up in Iago’s web of lie and well planted jealousy, just like the UN, there ‘s very little you can actually do to save yourself. When lies is spread around, when anger takes over clear judgment and no one will hear you out, how can you save yourself?
The Campaigner in me is back at work. Did I just make an analogy with Desdemona and the UN? It would be interesting to know what Nicholas Hytner would make of that. It was certainly a well executed play and we beg for more of these Classics in the Contemporary productions. The camaraderie of the soldiers and the realistic casting with soldiers of various genre and ethnicities is refreshing and effortless in contrast with the usual monochrome cast with the one odd ethnic actor (usual male and the mix race actress). Equal opportunity box: Ticked. It reflects society as it is. Or in this instance, the compound as it is. The story moves in swiftly into the men’s quarter where they excel at binge drinking and the Men’s toilets s the scene of Othello’s epilepsy crisis is played perfectly.
Adrian Lester’s Othello is a loving husband and General who turns into a jealous stalker which by Adrian Lester’s account at the recent talk on 50 years of the National Theatre - it is a difficult journey emotionally. Particularly from Act 3 scene 3 – also refer to as the temptation scene - because Othello’s journey evolves very quickly from that point and becomes purely emotional. It is a hard to be credible and make that leap from a General in control to a man who kills by jealousy in such short time. You barely went through that and then the killing of Desdemona and it’s curtain call. He recounts the journey has made it a little hard to let go of at night.
Lester acknowledges that it is one the most challenging part he has played so far and it encompassed all his experiences. Every bit of his work as an actor has been justified by the work he has achieved in his Othello. And you can feel it.
I don’t usually get shy meeting actors, theatre practitioners or even placing calls to General Bosco ‘Terminator’ Ntaganda - who decimated population in East Congo (DRC)- before his arrest in April 2013. Somehow, sometime that part seems like the unreal part. That a man like Ntaganda should be allowed to kill and then dine at restaurant with UN officials sounds unreal. His trial at the Hague was schedule to start in 2014.
So I don’t get nervous about those parts of my work. But being in the presence of Othello, because…well for a while Adrian Lester will just be Othello in our eyes. Being in the presence of Othello makes you feel small in his strong and imposing yet gentle presence. You’ll fluff your words and just wish you could disappear under a rock to observe him. Because when he meets you he is genuinely inquisitive about who you are and what brought you there.
Lester reminded the audience at the 50 years of the National Theatre what he likes most about theatre: Moments of truths. You can tell when an actor is milking his way trough a matinee or if he is being truthful. And that is what you get in this Othello. Moments of truth. Lester found it hard to let go of the part he admitted. Actress Sara Kestelman who also shared the 50 years of the National Theatre platform, reassured him: ”You will be playing Othello again.” I certainly hope so.
Nicholas Hytner and Adrian Lester’s Othello deserve to be seen and experienced again and again in the UK and internationally. Not only for Shakespeare literary legacy but also for its relevance in marking accurately the time we live in.
2. Women as weapons of war and vengeance in Othello and today's societies. A. The treatment of women In many Shakespearean plays, women are often use as the pretext of vengeance and extraordinary follies. In Othello, it is Desdemona - often represented in Western theatre as a platinum blond to highlight the contrast with her husband. But very rarely a production emphasise the ease in which Brabantio first plants the seed of discord in Othello by denying his own daughter Desdemona:' او فریب پدر او، و ممکن است تو را 3' from that moment a sword of Damocles lays above Desdemona and her father awaits for her fall. It only gives Iago a good pretext to set his diabolical plan in motion.
Brabantio like Othello at the end of the play, allows himself to be lead to hatred towards his own daughter. Iago's poisonous words create the same effects on Brabantio and Othello: 'رم قدیمی سیاه و سفید روح برای پوشش میش سفید خود را است' l...'شیطان به شما پدر بزرگ را '4. Therefore when Othello falls in Iago's web of lies using Cassio's penchant for gallanteries and familiarities, Othello only fulfilled Brabantio prediction of Desdemona. She was from the start set to be the woman who will lead him to fall. Othello, the military commander, unfamiliar with matters of the heart fell in Iago web of jealousy and disposed of Desdemona's life like many men in past and present centuries still do. He simply killed her. It would be a case of domestic violence and murder as there are many all over the globe today5.
Once again an all too common story even in today's societies. In these times of overcrowded and often meaningless pseudo campaigns on women and gender equality, girls, teenagers and women are fed with pre-fabricated consumerism feminism. It falsely advertises women with enhanced bottom, plastically enhanced breasts and inflated lips, complete with frozen faces injected with rats semen, in order to be more attractive to men as the epitome of beauty and the ultimate expression of freedom and femininity.
Women's lives in many societies and cultures still lies on a thread, just like Desdemona. Be it in Western societies with its illusion in the advancement of feminism or in middle-east, asian or african societies. Domestic violence rate in the UK is very high: 'On average, two women a week are killed by a current or former male partner 6'. Men's frustration often ending on the woman's body – be it due to economical crisis or his football team loosing a match. And of course in countries in middle east women are at risk of hanging for driving or walking unaccompanied or unveiled. In Congo DRC woman, little girls and babies as young as three months old are routinely rape to destroy communities and control the land filled with minerals by Rwanda or Uganda backed militias as documented by the UN experts 7 .
Feminism has been expunged of its essence and the remnants is only a mix up with the vilest objectification of women's body. And because these movements and campaigns are marketed as an advancement of feminism there is no real progress on the treatment of women's conditions globally.
B. Desdemona and Barbary by Toni Morrison at the Barbican American writer Toni Morrison wrote some 'intimate dialogue of words and music between Desdemona and her African nurse Barbary' were performed the Barbican in London. It was an interesting attempt to add to the narrative of some interesting but underdeveloped women's characters in the Bard's work. Although it resulted in a very stale and uninspiring performance - songs by singer Rokia Traore albeit enchanting, failed to connect with the acting work of Tina Benko and it resulted in a form of travesty parallel story. But the idea of developing and deepening our understanding of Othello's characters is compelling. So long as it goes beyond the prism of race. We are more than our pigmentation. And the world of Othello highlights it very well. To confine Othello in the race relations domain result in misinterpretation of the richness of the play. Human nature is at the heart of this work, not prejudice. But our modern treatment of Othello depicts our societies prejudices and negative treatments towards other ethnicities and we still have collectively much to learn from each other and from this play.
CONCLUSION : For its formidable content, analysis and observation of human nature and behaviour intrinsic to every human society and particularly relevant for our times and various challenges we faced – women's rights, equality and justice - Shakespeare's Othello is undoubtedly not of an age but of all ages and it is to the credit of the University of Tehran to organise such event, in a country where great poets and writers such as Omar Khayyam, who have also greatly contributed and inspired our human stories and advancement.
It is once more a testimony of Shakespeare's enduring global legacy on many levels: we have as much to learn from the writing than from the journeys of these writings to inform our own human nature, and attempt to overcome our limitations.
Shana de Carsigac Mongwanga Eloko – London, November 2014.
I. BIOGRAPHY Shana Mongwanga is a Phd researcher and Human Rights Campaigner. She also works in theatre and films as a Director, Actor, Writer, and a luxury fashion Consultant. She was born in Bukavu, (Congo-DRC) and is currently based in London. She has a Master in Political Science/ International Relations and is a Bachelor in Law from the Catholic University of Louvain (Belgium). She worked for the Jesuit Refugee Service-UK Office in advocating and lobbying and on behalf of Refugees and Asylum seekers on a National and European level. A particular emphasis of her work included to accompany, serve and advocate for asylum seekers in detention centres across Europe. In response to a growing frustration and the lack of tackling the root causes of refugee issues, she founded AFRICALIVES! Which is now Athena-Africalives!Cullture and Advocacy, to challenge stereotypes about developing countries particularly Africa, often portrayed as un-resourceful, dying continent and the perpetual victimisation of African women. AFRICALIVES! is an organisation dedicated to projects encouraging positive social change using Films, Theatre, Art and Advocacy. One of its branches is SHAKESPEARE CONNECT which manageed the Shakespeare Readers Societyan online community and resource project. As a Film Director Shana Mongwanga trained with various Independent film projects in London, such as Raindance, Documentary Filmmakers Group and Women in Digital Entertainment. On the job training includes work placement at Michael Winterbottom's Revolutions Films production company.As a writer, she took part in the Royal Court International Writers Program. Which resulted in the play "KENZO" about knife crime in London. Other writing credits include "CONGO INDEPENDENCE”, a journey through the Congolese Independence. As an Actor, she trained at the Academy of Live and Recorded Arts in London, and was the winner of Concours“Scenes a Deux” at the Belgian National Theatre. She has appeared an collaborated in various films and theatre productions in London and Europe. She is an active member of various media and community platforms and women's group to foster real and tangible change in Africa and Congo. Recent article publication written in the PEACEBUILDING JOURNAL with foreword by Adam Hochschild and contributors such as Dr Denis Mukwege. http://www.tandfonline.com/doi/full/10.1080/21647259.2014.910916 'A New Dawn for Congo: the central role of Women in moving DRC' by Shana Mongwanga AFRICA LIVES!, UK Published 27 May 2014.
Othello at the National Theatre, directed by John Dexter, with Lawrence Olivier 1964, United Kingdom
Othello at the National Theatre, directed by Nicholas Hytner, with Adrian Lester London, April – September 2013. United Kingdomhttp://www.nationaltheatre.org.uk/shows/othelloonline access November 2014
IV. PHOTOS For documentation purposes only. No Copyright infringement intended. LAURENCE OLIVIER IN OTHELLO 6 - 1964 OTHELLO at Globe theatre in London 2007 OTHELLO at Comédie Francaise OTHELLO at the National Theatre 2014 DESDEMONA at the Barbican in London
3Persian translation of Brabantio line in Act I, scene 3: ' She has deceived her father, and may thee.' in french 'Elle a trompé son pere, elle pourrait bien te tromper' in Shakespeare William, traduit de l'anglais par Francois-Victor Hugo, (1998) Othello, texte integral, Librio, p.20
4. Persian translation of Iago's line in Act I, scene 1: ' an old black ram ismating with your white ewe'...'the devil will make a grandsire of you ' in french 'un vieux belier noir est entrain de couvrir votre blanche brebis' ... ' le diable va faire de vous un grand-pere' Act 1, in Shakespeare William, traduit de l'anglais par Francois-Victor Hugo, (1998) Othello, texte integral, Librio, p.9 5. The case of Oscar Pistorius, South African atheles who was found guilty of charge equivalent to manslaughter and one of three firearms charges but acquitted of two murder and two firearms charges http://www.telegraph.co.uk/news/worldnews/oscar-pistorius/11087281/Oscar-Pistorius-verdict-live.html