Dramatic Devices in Othello

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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.
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