Dramatic Devices in Othello

Dramatic Devices in Othello

Many people will argue that soliloquies are outmoded, embarrassing and

a thing of the past. They hold this idea because they believe

audiences want to see more action rather than talk. However, I

disagree and believe that soliloquies are important dramatic devices

which are important in making any kind of drama successful. In this

essay I will discuss both arguments with reference to the play

Othello.

Modern day children are brought up into seeing lots of visual drama

and action and are used to responding to entertainment rather than

thought. Contrasted with soliloquies in the past, modern day audiences

are use to seeing close up images and a change of music to show the

thoughts and mood of the characters. However, in the past the

characters would express their views and thoughts directly to the

audience via soliloquies. This one reason why many people argue, that

soliloquies are outmoded.

Many people also argue that the theatre in Elizabethan England was for

people of different age groups and backgrounds and that in the modern

society, theatres are only for the intelligent and less broad people

who will respond to the dramas and enjoy coming to the theatre.

Some people believe that soliloquies force audience into being

complicit with a character. For example, Iago. The audience will be

uncomfortable with his intentions and his plotting of evil.

However, I disagree and believe that soliloquies help to gain intimacy

with the charchters and thus make the play more successful. We see

this with the character of Iago. In the first part of the play most of

the soliloquies are his and are involved with his plotting and evil.

In his first soliloquy at the end of act one scene one Iago declares

that he “hates the moor” and says that Othello “twixt his sheets”.

Here Iago suspects that Othello has slept with his wife Emilia and

uses it as an excuse to get revenge on Othello.