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Word: othello (lookup in dictionary) (lookup stats)
Dates: during 1980-1989
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...fall of 1981 she had been acting almost without a break since 1977. At 24 she had made nine movies, had played commedia dell'arte and Polish romantic stage literature for the Drama Theater, and had just finished taking the part of Desdemona in a TV production of Othello. She was at the top of her profession in a country where theater is taken seriously...

Author: /time Magazine | Title: Show Business: A Gamine Is Exiled To Gorky Park | 5/2/1983 | See Source »

...certainly, she says. There would be no problem at all. But the production of Othello, in which she played Desdemona before she left, still has not been shown on Polish television. Do the authorities resent what she insists is not a defection...

Author: /time Magazine | Title: Show Business: A Gamine Is Exiled To Gorky Park | 5/2/1983 | See Source »

...however, changed the first adjective to "hot." The playwright's text tells us three things about the physical Hamlet--that he wears a beard, is 30 years old, and is fat (the role was written, after all, for the portly Richard Burbage, who first played Lear and Othello). It is still hard to get away from the 19th-century view: "Frailty, thy name is Hamlet...

Author: By Caldwell Titcomb, | Title: A 'Hamlet' Without the Prince | 8/10/1982 | See Source »

...lesser roles are in general better handled than in Coe's Othello last summer. Eight of the players assume two roles apiece (the practice of doubling was of course standard in Shakespeare's day) Edward Atienza is particularly laudable as a cleanly spoken Worcester, though he overacts the Welsh rebel Glendower (who has parody built into him and does not need any more superimposed). And Karen Stott gives pleasure through Lady Mortimer's prescribed song (with a real on-stage harp accompaniment by Sophie Gilmartin), though her Doll Tearsheet, as I indicated, belongs in the sequent play, which I wish...

Author: By Caldwell Titcomb, | Title: A Mixed Bag at Stratford | 7/16/1982 | See Source »

...their use in straight plays. "Vocal training is part of the craft, and it is up to the actor, not the soundman, to reach those people in the back row," adds James Earl Jones, who is doing just that as the jealous Moor in the current Broadway production of Othello. "You can project not just with volume, but with clarity and unexpected variations in rhythm. It all boils down to this: If you're going to amplify sound, why not have people stay at home and watch...

Author: /time Magazine | Title: Show Business: Static over Theater Sound | 5/31/1982 | See Source »

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