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Negative Space - Angelo Casasanto

    A. What is negative space (explain this concept to a fourth grader that has never heard of it)
- Negative space is the space in and around the object you're trying to make out.
 

    B. Explain how you found negative space in 1. your cut out?, 2. in your still life drawing?

- I found negative space by basically looking at all of it in the opposite perspective.

   C. Why does it help an artist to see in negative space?


- It helps because if you can see the negative space then you could see the details of the object you're trying to define.

   D. Does seeing in negative space enhance drawings, why or why not?

- If you wanted it to enhance your drawing then it could, depending on the person.

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Michael Nicolella Othello Journals

1.

Iago

(aside) He takes her by the palm. Ay, well said, whisper! With as little a web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do, I will gyve thee in thine own courtship. You say true, 'Tis so, indeed.

 

Iago is talking to himself. He is talking about how Cassio should keep talking to the girls so that he can get Cassio and his plan can come together. Knowing this is a good indicator for the characters body language and his movements. It can be like he is talking in his head or time froze and it is just him talking to himself or the audience. He could also be talking to the audience because he is plotting to frame Cassio and Shakespeare could have added this scene to clarify what Iago is planning to do. His movement could be pacing back and forth, showing his impatience to make the plan all com together. Or he could just be frozen; showing that he is just thinking in his head for that split second. If he is talking to the audience, he can grab a chair and talk to them saying what his ambitions are and just state what he wants to do.

 

2.

Clown

Act 3, Scene 1 Lines 4 – 31 Act 3, Scene 4 Lines 1 - 22

- What does this character observer first hand? (What do they see personally?)

The clown observes the various messages and conversations in the short scenes that he is in. In the Clown's first scene, he experiences Cassio giving him a gold coin to go get Emilia so that he can talk to her. But Iago ended up doing the Clowns job. In the Clown's second and last appearance, the Clown is kind of joking around with Desdemona, saying puns about lying. After the puns, he goes and gets Cassio for Desdemona. I think that he doesn't think or know of what is going on because he is joking and things like that and it also seemed like Desdemona really needed Cassio, and the Clown didn't really take notice.

 

- What does this character observe second hand? (What are they told by other characters?)

The Clown, in all of his scenes is just told to do little errands for the main characters. In his first scene, he is told to go get Emilia for Cassio, even though Iago ends up doing that errand instead. In his second scene, he is being asked by Desdemona where Cassio is, and the Clown jokes around a little and after that he goes and gets him (exits). That is the last time the Clown shows up in the book.

 

- How can we understand this character's motivations better when we concentrate only on their scenes?

I think that his motivations are just for money. I don't think that the Clown would just do little errands for people unless he was getting paid. What else would be the purpose? I think that this character is one of the easiest because he is in such few parts/lines of the book. If the book were in just the Clown's point of view, we would know nothing that is going on.

 

3.

Othello

Othello started off a normal life when he was a kid. When he was about 10, he was taken and forced into slavery. He fought in the Venetian army for the last 15 years and slowly rose in rank, showing his skill in fighting and military tactics. That is what led him to become what we now know as The Moor. He has since gained his freedom and, as we know is still fighting for the same people that enslaved him. I think that even though these experiences are broader, it puts in perspective how someone in his position would think. To me, it seems like he has learned to be calm or passive to people (at least in the beginning of the book). I think that this helped him in our scene because he could have flipped out or even just have not talked to Brabantio about it. He actually got Desdemona to confirm it and I think that this helped him win over Desdemona even though Brabatio doesn’t approve.

 

4.

 

1.                   I am going to try to speak in the accent that Othello had in the audio. It adds a foreign feel to him because everyone else speaks similar except Othello. For my movement on the stage, I am going to have a different posture. I want to make him look powerful because he is the moor and he has killed many people. Since Desdemona and Othello are in love, I am going to show that by holding hands and stuff.

 

2.                   I am going to use a sword. Its actually not going to look like a sword that much since it is an umbrella. I think that it shows Othello’s power. It kind of shows that he is a good person because he has the power to kill Brabantio and just take Desdemona but he doesn’t. Another prop that I was thinking about using was a crown but I don’t have one or know where to get one. Also it really wouldn't make sense because he is not a king or anything.

 

3.                   I think that Jenny's role as Brabantio is really good. So far in our practice, she has done a good job showing Brabantio's anger and sadness. She gets in my face and I think that it adds to it standing out. We worked a lot of work on our movements, accents, and what we will be doing on the stage while we are talking (or not talking). We also have to assume what people are doing when they are not talking. For example in the script, it says Iago enters but he doesn’t talk so we assumed that he was sneaking.

 

 

5.

 

1.                  “If you do find me foul in her report, the trust, the office I do hold of you, not only take away, but let your sentence even fall upon my life.”

 

                  This quote shows that Othello has nothing to fear about Brabantio. Desdemona actually likes Othello. This line let me know just what I said. Because of this relaxed environment, I don’t need to have my sword drawn and I can have a relaxed posture. The way I said this line was in a serious tone, but with a little relaxation because he doesn’t need to worry about anyone in the scene trying to kill him.

 

2.            I think that the performance did go as I expected because we practiced the play like 10 times so we knew what to do. One thing that was not expected was one of our group members not at school but that didn’t really throw us off because that person’s part was small. I am proud of Jenny’s part. In my opinion, she was the best actor out of all of us. Arshelle’s part was also good because of how she read it and also her movements (pacing back and forth, etc).

 

3.            Acting out the play obviously made me understand what was going on in the part of the play we had. Also seeing how the characters might act like and also what they might look or stand like. One thing that I learned from this is a deeper understanding of how Shakespeare writes. I think that if I were to read another book or play by him I would be able to understand it better because of these classes. 

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Ameer Holmes: Negative Space Art

​Negative Space is the drawing of a set of objects as if relative space was non existant. The objects you are drawing has no visible connection points and nothing differentiating the objects. You are only drawing the outline of the objects in a negative space drawing. To get negative space in my cutout I  used a template and cut it with two pieces of construction paper. I then glued those two pieces onto a green piece of printer paper. To find negative space in my still live drawing I tried to figure out where the figures would connect before I drew them so that I didn't have to connect them together and erase the lines. If you know how to draw negative space as an artist you are more capable of seeing how objects react and menuever in a set space.  Seeing negative space would enhance your drawings skills if you study it and know how to do it well because it could teach you how things react and menuever. 
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Michelle Friedman, Negative Space

In art class we have been practicing negative space for the past few weeks. Negative space (in art) is simply the area surrounding an object; not the inside or the details, just the outside. You could call it the silhouette.

In my drawings negative space is apparent. The way I went about drawing and understanding the negative space in my drawings simply by identifying the objects and then looking at the outline of them. The inside of the outline is the positive space, and the outside of the outline is negative (it is the dark part). In my cut-out piece, I found the negative space in the different colors. The green and the pink colors are very contrasting, therefore, it is easy to find the positive/negative.

For artists, negative is very useful because it makes it easier for them to delineate the figure of the object. Seeing the negative space for observers is just as important because it helps them define the artwork as well. 
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Negative Space Drawings and Cut-Outs

Ava Olsen                                                                                                                    5/3/13

"Negative Space"

Negative space is the entire area around a drawn figure. If you’re drawing a chair, you would draw a chair, and color in everything around the chair, except the chair itself. You wouldn’t add details or anything, you would just have a blank figured outline of a chair, and have everything around it colored in.

In my cut-out, it’s apparent that I have negative space, because on one side, there is a completely normal cut-out, and on the other side there’s reversed color. I used the colors pink and green, so everytime there’s pink on one half, there’s green on the other. In my still life drawing, I have negative space as well because the drawing of the main object is completely blank, but everything besides the figure is colored in. 

I think seeing in negative space does enhance drawings because it makes them pop out. I think it also exercises your mind to try and figure out what you’re looking at. I find the negative space drawings very interesting.


Below:
1. Stool On Top of Stool
2. Handtruck
3. Chair
4. House

Stool!
Handtruck
Chair!
House!
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Negative Space Reflection : Brittany Cooper

A.) Negative space is the contrast between the light and dark space in an object. It is almost it's shadow or reflection.

B.) 1.) In cut out, once you trace and cut out your piece, the "scraps" or leftover pieces from your cut out is the negative space. (2.) In my still life drawing I would simply draw the object as if it was just by itself. Then shade all around the object so that all you see is the object. 

C.) It helps a artist to know negative space because negative space is like drawing with a certain amount of light. 

D.) Yes, because negative space can make a object stand out form its surroundings. 
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Negative Space

Negative space is the absence of something. It is drawing what is not there, instead of what is there. I found negative space in my cut out in the areas where I had cut out parts of my tree and put it on the opposite side of the paper to complete the picture. In my still life drawing - which I had to at home because I was out the day that we did it in class - I found the negative space by drawing the absence of what I was drawing. Using negative space helps to establish positive space. If an artist can show negative space, than they will be better at making positive space. I believe that seeing negative will enhance drawings, because it will make the contrast in the art stronger.


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Othello Journals

Journal #1

Iago - Act II, Scene III

And what’s he then that says I play the villain?

When this advice is free I give and honest,

Probably to thinking and indeed the course

To win the Moor again? For ’tis most easy

The inclining Desdemona to subdue

In any honest suit: she’s framed as fruitful

As the free elements. And then for her

To win the Moor—were’t to renounce his baptism,

All seals and symbols of redeemed sin,

His soul is so enfetter’d to her love,

That she may make, unmake, do what she list,

Even as her appetite shall play the god

With his weak function. How am I then a villain

To counsel Cassio to this parallel course,

Directly to his good? Divinity of hell!

When devils will the blackest sins put on,

They do suggest at first with heavenly shows,

As I do now: for whiles this honest fool

Plies Desdemona to repair his fortunes

And she for him pleads strongly to the Moor,

I’ll pour this pestilence into his ear,

That she repeals him for her body’s lust;

And by how much she strives to do him good,

She shall undo her credit with the Moor.

So will I turn her virtue into pitch,

And out of her own goodness make the net

That shall enmesh them all.


Iago here is speaking to himself, but could just as easily be speaking to a crowd or a single person. He is speaking about his plan and about Desdemona. Here Iago is trying to rationalize his plan with his conscience, which can transcribed to several audiences by putting emphasis on several sections of the speech, particularly the first half. The actor can show this by putting a questioning spin on the first half of the speech to show that he is talking merely to himself, and a kind of arrogant twist to the first half if he wants to be speaking to an audience. The second half of the speech is where Iago has successfully justified his plan in his mind. This part of the speech is confident and assured. Using hand and body gestures here would increase the drama and add a satisfying surety to Iago’s words. The tone of the speech overall shifts from the first half being unsure and faltering, questioning, to a tone that is encouraged and sure.


Journal #2

Cassio

Cassio appears in several important scenes. He appears in Act II, Scene III, where Iago plans to get him drunk and to lure him into a fight with Montano. He is not told what Iago’s plan is, obviously, and is successfully tricked. He personally sees that Iago is his “friend” and attempts to drink with him. He takes this as a sign that Iago wants the best for him, when he really is being just as deceitful towards him as Othello. In Act III, Scene II, Cassio talks to Desdemona about getting reinstated and getting his position back. He unwittingly and unwillingly falls right into Iago’s plan. He is told by Iago that the best way to Othello is through Desdemona. If we just concentrated on Cassio’s scenes, Othello, or rather Cassio, would be a tale of frustration and confusion. Cassio does not know what is going on, and has no way to. I think that the story of Cassio is not as interesting as it is frustrating.


Journal #3

When Iago was a young boy, he was diagnosed with leukemia. They could not treat leukemia in those days, so Iago’s mother went to a witch doctor, a Moor. “I can save him. But it will be at a great cost.” Iago’s mother was so determined to save his life that she said she agreed to everything and anything. “Ok,” said the witch doctor, “Let’s begin.” She told them both to lie down next to each other and to relax. She mixed a potion and poured it over Iago and his mother. Suddenly, Iago felt relaxed, he felt calm, he could begin to feel his body recovering, his bones began to strengthen. “Mother, I can feel it working!” he exclaimed. But there was no response. He looked to his right, and saw his mother, cold, no life in her eyes. “NOOO!” he exclaimed dramatically. The price for his life was the life of his own mother. “I’ll kill you! You villainous Moor!” He screamed. From that day on Iago hated all Moors and vowed to be mean to one one day.

Journal #4

The tone of voice, body language, and movements I want to portray Iago as having are those of a villain in power. He is sly, he is demanding, he is confident but sneaky. I think that he holds his chest up high but slouches. He is like a rat, a soldier rat, but a rat still. Iago is not going to have a prop or costume, I think that the body language relays all that I need him to say, and that a costume would distract from this image of Iago. I am however going to bring Othello some props. In our scene has a headache, and I will bring in some “Ye Olde Orange Juice” and some “Ye Olde Aspirin.” Our presentation is going to stand out through a combination of great acting, confidence, and interesting portrayals of each character in their turn. I think that this will be a very fun performance to be involved in. I hate acting, though.


Journal #5 - Post Performance

“I will in Cassio’s lodging lose this napkin. Trifles light as air are, to the jealous heart, confirmations strong as proof or wit.” This line is very important to the play and to our scene. Iago often reveals some plot twist, plan, or scheme of his through lever words and delivery. I think that here Iago is more talking to himself than the audience, but regardless, he is explaining how Othello’s jealousy will cloud his judgement. He is playing on emotions as if they were a harp, using his skill set, (trickery, a sly tongue, and a black heart), to control others. Without this scene in the play, the audience would not understand how Iago’s plan will fit together. He shows us that jealousy is a powerful and dangerous weapon.

I think that our performance went quite well. Although the mechanics were not always there, the flow of the scene went as expected, which is all you can really hope for with lightweight actors such as myself. Will and Penelope did a great job, actually. Their performance was convincing and funny. Tytianna and I did not speak as loudly as we had planned, but we pulled through and finished our scene strongly. If I could do the scene over, I would have remixed it. I imagine Othello as a Rastafarian wielding, chilled out man, Desdemona as a sort of princess, Emilia as a sort of wise and clever maid, and Iago as a sleek, devious type. Seeing as none of this would be probable with our level of experience, I don’t think this would be possible. It would be fun to do, though.

By performing the play and analyzing the characters in order to play a more convincing role, I think my understanding of the play increased ten fold. The character sheet really helped me a lot. That was definitely the most interesting and engaging part of the experience. Performing the play helped me to get inside of Iago’s mind. I had to create motivations and a whole new mindset for myself in order to portray him well. This overall was a very fun and engaging project. You should do it again next year.

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Othello's journels

Journal 1#

Men should be what they seem,

Or those that be not, would they might seem none!”


If Iago was talking to himself, it may appear that he actually believed this himself. He would be deep in thought and a bit angry, so he wouldn’t say this loudly unless he was very angry. If it was towards someone like Othello, or someone he’s trying to convince of something (gossiping, etc.) he would sound disgusted, trying to sound convincing, and he would have a medium tone. Loud enough to sound like he’s agreeing (even if he’s not) with this saying without getting too worked up (because he wouldn’t necessarily agree with this). If it was towards Desdemona, he would say it in a calm, but in a  persuasive tone. He would talk this way too with Cassio. If he was talking to someone like the Duke, he would say this very calmly and politely; he wouldn’t scream at someone with so much power as the duke, so he wouldn’t say this rudely or loudly.



Journal 2#

Rodrigo


1) Rodrigo sees firsthand that Desdemona loves Othello, and that Iago hates Othello. He also sees that Cassio is Othello’s trusted lieutenant. In the end, he sees that Iago is a liar.  

2) He is told that Desdemona is given the gems, and Cassio is preventing him from getting desdemona. He’s also told that Othello is going crazy.

3) From these scenes, we can see Rodrigo is madly in love with Desdemona because he was willing to give up his fortune for her, kill someone, and frame someone for her. His only goal is to win her affections, and he'd do anything to do this. He is also portrayed as a naive and somewhat stupid character, because he is easily convinced to do bad things by Iago.


Journal 3#-

Rodrigo was always neglected as a child. Although his family was rich, people often avoided him and his family because they often had a bad influence on others. They were known to act on impulse, and they were a violent family. Rodrigo himself wasn’t such much violent as he was needy. He just wanted someone to love, and when he first met desdemona, he instantly fell in love. That’s why he’s so desperate for her affections. He feels that’s she’s the only one who can fill that hole of neglection in his heart. That’s also why he’s willing to kill and lie (basically do anything for her) and why he does what he does in the play. He also easily trusted Iago because he’d never really had someone close and “trustworthy” in his life before. He felt that he could use Iago to get what he wanted, or, desdemona.


Journel 4#-


- I’m bringing a caring tone to Desdemona’s voice, while also placing Othello's handkerchief on his forehead. This is to show the concern in desdemona’s voice and to show that she’s worried for her husband.

- I’m going to have a handkerchief to portray Othello’s handkerchief.

- What’s going to make our group stand out is the feeling we put into our words, the props, our actions, etc. We’ve worked on how to say specific words and lines to make it more understandable and to stand out, while also showing feeling so the audience knows what’s happening. We’ve agreed to put as much feeling in it as possible. We will try to highlight the most important lines..



Journel 5#-

Desdemona- “I am very sorry you are not well!”


This quote shows that, although Othello was rude and blunt with Desdemona, she still showed concern for Othello. This love and Devotion would carry on to the rest of the play, even to her death. It’s important because it not only shows the type of person desdemona is (caring affectionate, devoted, loyal) but also shows that this would be her undoing. If she wasn’t so faithful to Othello, it’d be more likely she could live. I showed it’s importance in the play by saying it louder than anything else, with a worried tone. I delivered it with a worried tone, to show she was genuinely worried for Othello.


The performance did go as we planned,  and it seemed good. I’m proud of the feeling we showed, how we portrayed  it in a way that the audience had some understanding of what was going on. I’m also proud we had props, which also helped show what was going on. Next time, for improvement, I would’ve read slower and wouldn’t have looked at my lines as much. I also would have used a tissue or real handkerchief instead of a sock. That way, it would’ve made the play seem more realistic.


By performing the play, I firmly got a understanding of Desdemona’s loyalty and devotion to Othello, Othello’s anger and jealousy towards Desdemona, Emily’s ignorance and loyalty to her husband, and Iago’s impantientence,  genius, and evilness. I learned about Desdemona’s loyalty and devotion to Othello by the way she was concerned about  his condition and how, even when he rejected her and her handkerchief, she still was worried for him. I learned the level of jealousy and hatred Othello had towards desdemona had at that point by the way he rejected desdemona, and her handkerchief, which symbolized Desdemona’s love for Othello. I learned of Emily’s Loyalty to her husband by the way she stole the handkerchief without thinking twice to give it to Iago. I learned about Iago’s impatience from the way he quickly told Emily to go away so he could examine the handkerchief.



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August Polite- negative space

    A. What is negative space 
Negative space is the area around an object, opposed to the area within the object. 

    B. Explain how you found negative space in 1. your cut out?, 2. in your still life drawing?

I drew the area around the chair by filling in that space with pencil strokes. I symbolized the actual space by leaving it blank. 

    C. Why does it help an artist to see in negative space?

Because the object floating in the air can seem disjointed, it is good to include an environment. 

    D. Does seeing in negative space enhance drawings, why or why not?

It can in the right time/place.

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William Derry: Negative Space Reflection

Negative space in art is the space between two images. Negative space is the space around an image. Furthermore negative space is taking an image and mirroring the image on another piece of paper. I found negative space in my cut out picture by looking for empty space in my drawing and trying to mirror the picture on the other piece of paper. In my still life drawing I found negative space by trying to see the two images as two complete different images.  My still life drawing had an chair, three stools and a hand truck. The three objects were close together but I tried to draw them separately. I found space between them by doing that. It helps an artist to see negative space because it helps the artist get their point across. What I mean by this is the artist can make the drawing more realistic by having negative space in their drawing. Furthermore the artist wants the viewer of their drawing to focus on a certain thing in their drawing. I believe that seeing drawings in negative space enhances the drawing. The reason being is the drawing comes more to life and it makes the drawing better. Overall, negative space is important to making a great drawing.     
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Shakespearian Journaling

Shakespearean Journaling
Alex Marothy

5-1-13

Journal #1: Me, Him, They


(aside) I have rubbed this young quat almost to the sense, 

(Thinking aloud to himself)

And he grows angry. Now, whether he kill Cassio

(Here he addresses a higher power, wondering aloud what the future could hold)

Or Cassio him, or each do kill the other,

Every way makes my gain. Live Roderigo,

(Now, still directly addressing himself, also indirectly lets the audience in on the secret)

He calls me to a restitution large

Of gold and jewels that I bobbed from him

(Now speaking directly to audience, explaining his theft)

As gifts to Desdemona.

It must not be. If Cassio do remain

He hath a daily beauty in his life

That makes me ugly. And besides, the Moor

(A self-reflection that seems to be directly to himself)

May unfold me to him—there stand I in much peril.

(Again to a higher power, pondering the consequences of his possible inactions)

No, he must die. But so, I hear him coming.

(To the audience, finalizing the plan)

 

In this soliloquy, Iago addresses multiple players in this tragedy. In the act of finalizing his treacherous scheme to the audience, he reflects upon himself and ponders aloud to a higher power. He indicates speaking to the audience by making clear statements suggesting direct actions, almost a step-by-step procedure, and may in this case turn his gaze out from the stage. To himself he speaks as if no one is watching, choosing such words as to observe his emotions, possibly indicating this by gazing at his hands, the floor, or something personal. When speaking to the heavens, his statements seem almost questions, quizzical in their deliverance, as if wondering aloud for an answer he does not yet have. He most likely would convey this by cocking his head to the side, or even gazing upwards.


Journal #2: The Man, The Legend, Cassio


Michael Cassio:

Act 2. Scene 1: Cassio welcomes Desdemona

Act 2. Scene 3: Cassio gets drunk and fights Roderigo

Act 3. Scene 4: Cassio gives up on Othello's love

Act 4. Scene 1: Cassio is tricked by Iago into furthering the belief of his scandal to Othello

Michael Cassio observes a series of misadventures inspired by wrong turns he believes himself to be making independently. From drinking too much and losing Othello's love, to fueling the Moor's rage and desire for bloodshed, he has clearly made some mistakes. However, these mistakes are not the shortcomings of an honest man, but the trickery of an evil one, Iago. Cassio is constantly falling pray to Iago's deceptions, being influenced to over-drink, and becoming subject to attempts of murder.
In the midst of this tumultuous trickery, Cassio is infatuated with the allure of women. Desdemona is an angel in his eyes, and he hangs on her every word. Unfortunately for Cassio, this past time of speaking with Desdemona fits almost too perfectly into the villainous schemes he knows nothing about. 
By observing the events unfold from Michael Cassio's perspective, we see he is but a poor, honest man, just another pawn in Iago's games. His motivation stems from Othello's pride and love, while he turns a blind eye to his own manipulation.


Journal #3: The Tale of Iago


One midsummer's day, a long time ago, a boy was brought into the world. His mother, Lady Macbeth, birthed and raised him, guiding him along the way. In his childhood years, Iago loved to run and play, and was know frequently erupt into dance at the sound of music. Clearly a jubilant little fellow, he brought joy to everyone he met, and blessed his small, Venetian town with delight. 

Upon his adolescence, however, things seemed to take a turn for the worse. His mood sullen, his attitude altered, and his demeanor inverted. Little did his company know, his mother had been manipulating him for quite some time. They would spend hours in the study each night, practicing the art of deception. As a teenager, he was felt to be the 'sly fox' of his peers, constantly conceptualizing some new mischievous scheme.

These themes of deceit and duplicity he carried with him to adulthood, reflecting his mother in the eyes of his enemies. After lying and deceiving  all his life, he knew naught but that. His path lead him to a man named Othello, and a position in the militia he would soon regret.


Journal #4: Action Plan


As Iago, I hope to convey a sarcastic and sardonic attitude. My body movements, while slight, will indicate that I am a snake creeping the tall grasses of Othello's mind, swaying and bending him to my will. My voice will slither through the air, a suggestive tone painting pictures of blood. Without direct and blunt presentation of facts, I will sneak into other characters' minds, poisoning their hearts.

My Iago will be fully equipped with a tiny snake-pet on his shoulder, to enforce the simile that he is sneaky like a snake. A fitting prop that will magnify the audience's view of Iago, especially in my assigned scene, and observe him as a cunning, yet devious mastermind.
My group has strived to create a presentation that will stand out from the others through precise action, and delicate tonalities, finalizing a product that explores Iago and Othello's relationship in a tactful manner. Also, half of the group will be off book! Something that will surely add to the reality of the play.


Journal #5: A Reflection on Performance


Iago: If it be that, or any that was hers, it speaks against her with the other proofs.

In the delivery of this line, Iago pushes Othello over the edge, and reveals to the audience his increasingly devious nature. He merely suggests, in a sly manner, of Desdemona’s many wrongdoings, only skirting the edges of her crimes. By speaking in subtle fallacies, Iago allows Othello to paint a picture of scandalous adultery. My personal delivery of this line suggested just that, allowing Othello’s actor to clearly demonstrate his disgust-inspired rage.

Personally, I believe my group performed admirably. Through thorough planning and multiple practices, we were able to create a beautiful final product which was both fluent and efficient. Every move was choreographed, every emotion believed, and every character embodied. I can singularly say that the scene seemed to come alive while in the midst of it, making our performance that much more powerful. I am so proud of the time we dedicated to the scene as a group, and the level of commitment with which we approached it, as well as my resolve to memorize the lines, and personify the character. If I were able and required to do but one thing differently, I would have pressed my group members to memorize their lines as well, and hope for an even smoother performance. This being said, other members did explicitly well in embodiment of the character, causing me to observe unseen inner passion in their performance.

The culminating performance did little to improve my comprehension of the play, for I have always understood it well, but it did open my eyes to other things. I can see how this process would help the comprehensibility of the story, for solely in reading lies confusion for the infant. In terms of someone’s first meeting with Othello, aspects of the plot are understandably difficult to visualize, especially with Shakespeare’s often unfamiliar language. Watching and even being part of a play surely helps one to grasp nuances that would otherwise have been missed, existing naturally as it was meant to be.

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Trinity Middlebrooks-Negative Space

  1. Negative space is the space(air) around your object.
  2. In my cut out the negative space was the opposite color. In my sill life I drew the negative space then erased the positive.
  3. Because it lets the artist focused on something they didn't think was there.
  4. It does enhance the drawing, because now you see everything the picture.
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Josh Berg Negative Space

Negative space is the space where there is absence of an object. It is the space around the object. When all of the negative space is drawn correctly, it is as if the object has been drawn. You can see the space in the still life around the object. Parts of the object show up because of the space not occupied by the objects in question. In the cut-out drawing you see the space occupied by the bird on one side and the space not occupied by the bird has no paper. On the other side the space that is not the bird has the paper and the bird is shown through the absence of the second layer of paper. When an artist can see the negative space, it doesn't matter if they are doing a negative space drawing or not, being able to see negative space will help them to be able to more accurately represent the shape of the still life objects. It helps to see negative space because then the drawings will look real and like they actually do in real life, because of your newfound ability to see shapes.
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Tobi Hahn Negative Space

Negative space is the space between the lines that you normally draw.
I found negative space in my cutout by looking at what was cut out and doing the inverse. I found negative space in my still life drawing by looking at the solid lines and drawing around them.
It helps you to see in negative space because then you can create art in more varied media.
It does, because it would be impossible to create a cutout like the one we did without seeing in negative space.
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Des O'Donovan: Negative and Positive Space

Negative space is basically the opposite of actual space. It is the non-existent space around an object. Positive space is the actual object. Negative space is the space that is not the object being drawn. 

In my cut out I found negative space in my cut-out by cutting out the dark gray parts of the template and making those shapes one color on one side, and the other color on the other. I did the same with the lighter parts for positive space, and made sure that the negative, and positive space shapes were opposite color on either side.

It helps an artist to se in negative space because then the artist can separate the object from the rest of the space. It also helps make the object stand out. 

Seeing in negative and positive space does enhance a drawing because it makes the drawing stand out. The positive space stands out from the negative space. 

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Negative Space: Brandon Yam

A.) Negative space is the space behind, around, and in between an object or objects. The object itself is not negative space but everything else besides it, is negative space. To give you an example of negative space, think about prison cells. The bars on prison cells are separated by an equal amount of space. That space would be the negative space. 
B.) I found negative space in my cut out because I looked up other examples of negative space on the internet and did my cut out similar to that. I did a tree in my cut out, so for the negative space I just had to create the the background. When I created the background the tree was made as well as a result of the background. Look at the picture I provided below to get a better understanding of what I am talking about. 
I found negative space in my still life drawing by actually making the negative space. I would create the object first then I would just shade around all of the object. This is one way of doing it. I also did one of the drawing much like the cut out project. I created the background space first, so I shaded everything then left some parts non-shaded, the non-shaded regions would create the object. Another way I went about negative space in these drawings was by covering a whole section of a piece of paper with lead, then I took an eraser and drew the object by erasing. 
C.) It helps an artist see in negative space because it gives them a new way of thinking. As I was doing this project, I found it to be very challenging because I had to think of how to go about making negative space out of cut outs. Negative space also helps the artist think more realistically about their surroundings. 
D.) I do believe seeing in negative space enhances drawings. I personally feel like I have a better understanding of the space that surrounds an object. Negative space gives a drawing a simple, plain, yet unique look. 

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Javier Peraza: Negative Space Art

1. Negative space is the space between and around the topic of a picture
2. I have studied negative space before and therefore it was quite easy to find it. The simpleness is just the empty space around the subject. 
3. Negative space strengthens an artist's perspective of things. 
4. The enhancement of drawings and ext. because of negative space solely depend on the artist. Although, most likely seeing everything from different perceptions does increase knowledge and skill on that base term. 
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Aaron Block's Negative Space

A. Negative space is the area around an object. When drawing negative space you shade the area around an object as oppose to the object itself.

B. To find negative space in my cutout I cut out the object, in my case the house. For the drawings I quickly outlined the objects then shaded the area around it.

C. It helps to see in negative space because you can see the shapes in an object better than if you were to just look at the object as it is.

D. It does help drawings to see in negative space. You can see the shapes in objects which helps drawing the object as a whole.


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Othello Journals:

Chris Tran

Silver Stream

English Benchmark Prompt 1:


That’s not amiss.

But yet keep time in all. Will you withdraw,

Now will I question Cassio of Bianca!

(raise his hands up and pound on something)

A huswife that by selling her desires

Buys herself bread and clothes. It is a creature.

That dotes on Cassio, as ’tis the strumpet’s plague

To beguile many and be beguiled by one,

(Walk around, thinking)

He, when he hears of her, cannot refrain

From the excess of laughter. Here he comes,

As he shall smile, Othello shall go mad.

And his unbookish jealousy must construe

Poor Cassio’s smiles, gestures, and light behavior.

(Looking at blank space as though Cassio was there)

Quite in the wrong.—How do you now, lieutenant

at you. I’ll make him tell me the whole story again—,

where, how often, how long ago—

and when he plans to sleep with your wife in the future.

I’m telling you, just watch his face. But stay calm, and don’t get carried away by rage,

or I’ll think you’re not a man.(Now looking at Othello)


In this journal we have to choose one part of a scene in the play of Othello and make director’s edits. These edits gives you the freedom of making the script in any tone of voice that you choose. The target that I was focusing on, during this edit of the line by Iago is the audience. The reason why I target the audience was because I want the audience to experience the amount of anger and hatred that Iago has for Othello.  Here is the reason, why I put a period, is because I want to add a short break to make it more dramatic. In this first line I added a period because I want to add movement during the short break of each lines.The second line added another short break in between the lines so that the characters can have a breath between words and lines. This gives the character a chance to walk around the stage to make this scene more dramatic. So,it would make Iago sound serious. Exclamation points helps the line and the character sound serious, because without it, it would sound plain and the audience wouldn’t know what the expression the character is expressing. During this serious situation, the character’s posture has to be straightforward. Some serious monologues have occasional scenes where the characters express what they are saying by their unique postures and hand gestures. Different movements throughout the breaks between lines helps the audience have the full experience of the emotions of each character. That’s why in this short director’s choice, I choose to add two or more breaks in between these lines.


Benchmark prompt 2:


A couple of important scenes that Rodrigo appeared in:

- When Iago and Roderigo plans to get Othello caught being with Desdemona. (Act one,scene one)

- When Rodrigo was stopping Cassio from getting out of control and got into a fight. (act two,scene three)

- When Roderigo and Iago plans to ambush Cassio. (act 5,scene 1-2)

- When Roderigo got killed and betrayed by Iago. ( act 5, scene 1-2)

In this play, Rodrigo has experience with tons of moments of betrayal. For example on act 5 scene 1-2 he was very collaborative. During that scene he followed the detailed plan that Iago has settled out and went to take his position. The way I see it he is more betrayed than collaborating, because he wasn't there for one large portion of the story. For the part that he was out the plan still carried on only he used other victims like Othello to cooperate with him and help him succeed with his plan.

Well what Rodrigo observed second handed is the plans that Iago has settled out to get revenge on Othello. During the whole book there was no part in the story that showed us that Rodrigo was the leadership type, he was mostly the follower.


Well one way we can understand the character's motivations better is that when you focus on one small part ,you can carefully analyze the character's thoughts and feelings. Their statuses in society can also be an influence of how their future can be in real life or in stories. We can also understand how the character's expressions and actions can affect them in the future.



Benchmark prompt 3:

When he was young, Brabantio have a lot of affections from his parents. When he grew up and got married, he loved his wife just like his parents had taught him. His favorite past time when he was small, until now recently, he loved to go fishing at the creek near his old house. He loves to catch the fishes and release them because he believes that those fishes will soon reproduce to have more offsprings. His affections toward nature was carried in his blood forever. When he had a daughter, he swore that someday he would do anything to protect his baby girl. That love that he had for the nature, influences him to make that promise. On a stormy day, his daughter felt scared when he was there to hug her and comfort her until the storm was over. By the time he was well-known and became a senator. He took his time to write memoirs about his life and how he and his daughter had claimed the world by storm. They are never to be separated no matter what. Thats the type of person that Brabantio is, he is a loving person.


Benchmark prompt 4:


In this journal I wrote about my performance and how my group plans to make our performance stand out. Some of the specific actions,movements,and tone of voice that I have to bring during the performance are some unique emotions because since I play a role of a dad who is losing a daughter to someone I don’t want her to marry I have to sound sad and sometimes I have to be mad and angry. Brabantio has came a long way to lose his daughter like that so he has to act this way. Other movements that I have to bring into the performance is the way I talk to Nomi, who is acting as Desdemona. I have to gesture her over to my side just like any father would command his daughter. There will be two props that I will use throughout the play.One prop is a lantern or a flashlight and another is a cane because Brabantio is an old man so I think he must have a cane. The thing that will make my group’s performance stand out is that we are going to have suspense and action. There is also lots of movements in the scene instead of just standing there and looking into the crowd or audience. Well one thing that both groups of mine agreed to is that we have to have more movement in the stage to make the performance be more eloquent.


Benchmark prompt 5:

“I pray you,hear her speak: If she confess that she was half the wooer,destruction on my head,if my bad blame light on the man! Come hither, gentle mistress: do you perceive in all this noble company where most you owe obedience?”


This quote was one of the 8 lines that Brabantio had in this play. This quote in my point of view is the most important line that Brabantio had said throughout the play. This quote states that Brabantio can’t believe the event that occur to him. He wants to hear the full story to see if Desdemona really married herself to Othello without his permission.Then he said that, if its true then he would not accept it. He would blame Othello for everything that happen. Therefore, he needs to call upon  Desdemona and ask her if she truly love the man. This quote is really important to the story because it shows the fact that Brabantio is too mindful of Othello’s race. He doesn’t want her to marry a Moor. I think he expects her to marry someone that is noble and of an appropriate race. During the play,  I was trying to act like I’m not accepting this marriage. I was acting like a strict parent who disapprove everything that the child is doing. I was trying to put the situation under my control and articulate my thoughts out clearly as possible. I delivered this in a serious sad tone because of the fact that he is getting his daughter taken away from him is sad and also he wants to get this situation straightened out so he has to be serious as well.

Well yes the performance went really well. Both groups that I was in proved that they placed their best foot forward and performed their best. The way I planned it was just exactly like the actual effort and outcome of the performance. Well what I’m most proud of is that both groups’ scenes were really intense because of the way we planned was really well-planned and executed. Then also the point of that I memorized all of my lines are one of the things that I was proud of.  What I could have done differently in my performance is the costume. Most of the groups has costumes and I really don’t have anything. If I could have a chance to do the performance again. I would definitely bring a costume. After performing the play, this play has changed my whole understanding of the Shakespearean text. I learned that I can always act the part out if I really don’t understand it. Also the performance influence me to not be shy anymore and be more expressive more.


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Shakespeare Performance: "Othello" Journals

Journal #1: Iago’s Soliloquy, Deep Analyzations, and Director’s Notes

"I have rubbed this young quat almost to the sense, 

And he grows angry. Now, whether he kill Cassio

Or Cassio him, or each do kill the other,

Every way makes my gain. Live Roderigo,

He calls me to a restitution large

Of gold and jewels that I bobbed from him

As gifts to Desdemona.

It must not be. If Cassio do remain

He hath a daily beauty in his life

That makes me ugly. And besides, the Moor

May unfold me to him—there stand I in much peril.

No, he must die. But so, I hear him coming."------Iago (Act 5, Scene 1)

In the first four lines of this soliloquy (except, "Live Roderigo"), are spoken to the audience because these lines are the hints to the next proceeding plan of Iago. These lines gave the audience background info that they need to know in order to get a clearer understanding of Iago’s plan. These lines are his thoughts about the next step of the plan, it would be unnecessary if he talked to himself about it, because he already knows what is going to happen next. It is common sense that he is talking to the audience as Iago allows the audience experience the tension of the play as his evil plan proceeds to another level. Aside of a small section of this soliloquy to be toward the audience, a large portion of the soliloquy was targeted toward himself, Iago. The thoughts of the character reflects upon the situation he was in. Iago was analyzing Cassio and Rodrigo as the actor puts himself in Iago's shoes. It is in a  psychological state now. This portion of the soliloquy was the most personal thoughts of the Iago himself. The last line, "But so, I hear them coming," is to shift the focus from himself to the audience. This line is also a stage direction and an attention shift for the audience to know that Cassio will soon enter the stage. Aside from the target audiences, the actor needed to face in each portion o the soliloquy, stage directions are also important. For example, 

"I have rubbed this young quat almost to the sense, 

And he grows angry. Now, whether he kill Cassio

Or Cassio him, or each do kill the other,

Every way makes my gain.”

In this portion of the soliloquy,  Iago refers to Othello as a “young quat.” It means that Othello was so easily to be tricked into the plan like a young child. Iago thinks that the plan proceeds well and he could absolutely get what he expected from his plan. When the actor said these lines, he should act fulfilling and have a delighted facial expression. In the quote, "Every way makes my gain,” the actor should show Iago's confidence and cocky attitude by putting more power on the word, “I.” But, the actor should feel cautious after the short delightfulness as he then, put doubts in his own plan.  

"Live Roderigo,

He calls me to a restitution large

Of gold and jewels that I bobbed from him

As gifts to Desdemona.

It must not be."

This portion of the soliloquy means that Iago wants to kill Roderigo because Roderigo was a witness and his acquaintance. He was worried that Roderigo would told Othello about his evil plan because Roderigo suspects that Iago didn’t gave his jewels to Desdemona. So, in this moment, the actor should feel a bit anxiousness once he said, “Live Roderigo,” and continue with a softer tone that conveys a sense of wariness. The actor should said the line, “It must not be” with a louder voice because it would attract more attention of the audience as Iago proceeds to another character, Cassio.       

"If Cassio do remain

He hath a daily beauty in his life

That makes me ugly. And besides, the Moor

May unfold me to him—there stand I in much peril.

No, he must die."

The last five lines of this soliloquy means that Iago want Cassio to die because Cassio’s handsomeness and his honesty would make Iago, himself, look bad. Cassio would be an obstacle for Iago because Cassio may have a chance to clear up the misunderstandings between Desdemona and Othello. During this portion of the speech, the actor need to read the lines faster during the second to fourth line. Then, the actor should stop with a short sigh. After, the sigh, the actor should said the last line in a strong voice that expresses his [Iago] confidence and certainty of his plan.

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Journal #2: Secondary Character (Emilia)’s Views on Cheating Compared to Desdemona, and Strategies to Analyze Minor Characters 

"In troth, I think I should, and undo ’t when I had done. Marry, I would not do such a thing for a joint-ring, nor for measures of lawn, nor for gowns, petticoats, nor caps, nor any petty exhibition. But for the whole world? Why, who would not make her husband a cuckold to make him a monarch? I should venture purgatory for ’t." Emilia-----(Act 4 Scene 4)

In certain circumstances, Emilia believes that cheating is appropriate. She will not do it for objects of value but only for the sake of her husband. It shows that Emilia wants to win back Iago's love, even if she need to sell off her body to other men. In her heart, she doesn't really cares about the shame or the consequences that might put on her husband's reputation. Emilia only cares about her love for Iago, even if it is the wrong path to go or in turn, make Iago and her relationship worse.  As long as she knows that what she did is right for the sake of Iago’s love, she doesn't care. She will blindly follow the path she choses. Emilia believes that cheating is just a weapon to bring up her husband's position, rather than a ugly selfish practice. But, Desdemona had a totally different and innocent viewpoint than Emilia. 

"I have heard it said so. Oh, these men, these men!
Dost thou in conscience think—tell me, Emilia—
That there be women do abuse their husbands
In such gross kind?"-------Desdemona (Act 4, Scene 3) 

Contrast to Emilia's perspective, Desdemona will not cheat on Othello for any particular reason and she was so native to even be surprised to know that some women cheated on their husbands. I think this is the cause of the true love between Desdemona and Othello that made Desdemona have such native thoughts as she is, herself, dwell in Othello's love. Therefore, she doesn't have thoughts of ever cheating on her husband. In Desdemona’s eyes, she sees Othello as a kind husband and she put every husband in the world as to have the same kindness as him. On the other hand, Emilia have thoughts on cheating on Iago because her marriage with Iago was already cold. 

Based on the a character viewpoint on my secondary character’s standpoint on a single idea, I could understand the character's motivations better when I concentrated on the huge contrast between my secondary character to the other characters. Also, the character’s "aside" scenes reveal their true character. I could contrast and compare of what the character thinks and what he or she actually said to other characters in the story, in order to analyze this character in depth. 

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Journal #3: How does Othello’s past life influence the story?

My role in the play,“Othello,” was Othello. He was a Moorish general and was in charge of the war in Cyprus. In the beginning of scene one, Iago and Roderigo expresses their hatred toward Othello because of his race and his ill decision to let an inexperienced soldier, Cassio to be their commander. Othello’s favorite person was Desdemona because she doesn’t mind Othello’s race and eloped with him. During the years of Othello’s marriage or before, Iago suspects his wife, Emilia has slept with Othello and seeks for revenge. Iago set up an plan to make Othello believe that Desdemona was cheating on him. Othello fell into Iago’s trap as Iago had shown evidence of Cassio and Desdemona’s affair. Othello then, strangled Desdemona. 

Ones’ past life influence a character’s personality and behavior because both Othello and Desdemona are people with a pursuit of love. Though undergoing with hardships during their marriage and their acceptance in their own society, they are still together. If they were to betray each other then the "hurt" will be stronger than couples who have a smoother marriage. So, when Othello was suspicious about Desdemona's betrayal, he is is blinded by only on the love that will end instead of if Desdemona really cheat on him or not. Since, he was a Moor, he have more than enough reasons for why Desdemona would cheated on him. He probably also thinks that the only person who won't mind of his race would actually one day finally felt that his race will made her look bad, be an heartbreaking betrayal than any other. To Othello, Desdemona didn't also betrayed his love but his race as well. Othello believes the fact that Desdemona gave their token of love to Cassio is a great dishonor toward their love. A love that could be easily thrown away or disappear. So, he didn't act a little suspicious as Iago said that Desdemona cheated on him. 

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Journal #4: Preparation for Scene Eight Performance 

During my performance in Scene eight of Othello, I had a lot of emotional, mental, and other aspects that I would add between the lines to fully portray my character, Othello. For example, after Othello killed Desdemona and Emilia storms in, Othello said, "That! What?" As Othello, I would sound puzzled and panicked about Desdemona’s cry because Othello was certain about her death before Emilia came into the room. So, I needed to feel panicked with the word “That.” But, I also want to distract Emilia from seeing the dead Desdemona. 

Hand gestures, such as a huge amounts of finger-pointing are essential to this scene. For instance, when Emilia said, "O lady, speak again! Sweet Desdemona! O sweet mistress, speak!" I would point to Desdemona when I said, “She turn'd to folly, and she was a whore,” because I want to addressed the audience that I was describing Desdemona. Since, Emilia was unconvinced about Desdemona’s affair, Othello would said this line with an angry tone. I would stressed out the word, "she", "false" and "water" in the line, “She [Desdemona] was false as water,” in order to make these three words stand out because Othello want to make his point more convincing and urgent to Emilia. 

I will pause between, "Thy husband" and "knew it all." to create a highlighted point or focus that the audience should pay more attention to in the following things that will be happening in this scene. I will walk forward when I say, "Thy husband" to Emilia.

I will speak toward to the audience when I say, "an honest man he is." and look at Desdemona with a disgusted face when I say, "hates that slime that sticks on filthy seeds." Then, I would express a sense of frustration when I say, "He, women, I say thy husband; dost understand the word?” I will place my hand to my chest while saying,"My friend," and  points to Emilia when, I said, "Thy husband" and spread my hands wide in the air, when I say, "honest, honest Iago."

When I say, "Ha!" I rolled my eyes and turn my back towards Emilia. During this scene, I will use a sword as a prop. I point my sword towards Emilia when I said, "Peace, you were best." When Emilia backs toward the sword, I need to act surprised and frustrated. . With all of these preparations, there are certainly things that stand out. For example, the moment when Othello and Emilia will argue while walking around Desdemona. Also, the time when Emilia will act fearless while she is walking toward Othello's sword was a powerful moment for Emilia. Some great components to the scene was the fact that our group have speaks to multiple audiences. For example, "Out and alas, that was my lady's voice." will be toward the herself. The phrase, "Help!Help! Help!" will be toward the the people outside of the room, and the sentence, "speak again Desdemona,....speak." will be the Desdemona. I am noticed that Emilia is fearless while Othello put his sword tip toward her. So, I want to act like I was falling back (walking backward) while Emilia is approaching forward. This represent a sense of power for Emilia and a sense of cowardice toward Othello to point a sword on a women. 

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Journal #5: After the Performance 

During the scene when Emilia found out that Desdemona was killed by Othello because of Othello’s jealousy and her husband, Iago’s evil plan, she said, “Thou hast not half that power to done harm as I have to be hurt. O gull! O dolt! As ignorant as dirt! Thou hast done a deed, I care not for thy [Othello] sword. I’ll make thee known, though I lost twenty lives.” This quote shows how loyal Emilia is with Desdemona. Even though Emilia wants to put lesser distance between Iago and her relationship. She didn’t think twice about betraying Desdemona and stand on Iago’s side. This action shows that she was a women who stand in the right and doesn’t took personal matters in distorting the truth. In the performance, I want to show Emilia’s fearless and loyal side by giving her a stronger presence than Othello. I gave advice to Imani, casting as Emilia, to slowly walked forward while I, as Othello, backs off with a speechless and surprised expression. 

This quote also shows Othello’s state of mind after killing Desdemona. The fact that Othello strangled his beloved women (even if he suspects Desdemona to be cheated on him), but he also point a sword on Emilia. As a warrior, Othello puts his sword, a weapon to kill furious men on the bloody battlefield to a defenseless women. It shows that he is in a state of frustration and he totally lost his audacious former self to his jealousy. This is important because it shows just how deep Othello fell prey to the “green eyed monster.” It was a huge transformation of Othello’s former self to his dark side. When Emilia said the line, I need to be confused because I believed in Iago, so Emilia’s views are alien to me. I backs off, not because of Emilia’s sworn upon her life that Desdemona was not guilty and Iago is the mastermind of the tragedy, but because of Emilia’s fearless attitude in Othello’s presence. 

My group’s performance goes well in some aspects. I [Othello] tried to put on a surprised face when Emilia moves toward my sword. This is a breakthrough for Emilia’s character in past plays. Aaron (the Shakespeare instructor) said that he never saw Othello being backed down by Emilia before. Some of the things that doesn’t go as expected was the position of the characters. When, Emilia enters the door, I actually bumped into her because the setting of our rehearsals was in a different place. Some things that we are proud of was the emotions and the tone of our voices. For example, when I said, “She [Desdemona] was false as water.” I said it in an angry and eager tone because Emilia was in disbelief to the fact that Desdemona was unfaithful. But, he still wants to make Emilia believe what he believes. As for Emilia, she talked to different targeted audiences in one sentence. For example, when Emilia said, “Speak, Sweet Desdemona, Speak!” She was talking to Desdemona. When she said, “Help!Oh! Help!” she yelled to the people outside of the room (toward the door). 

The things that could be done differently in the scene was that I could put in more emotion and reactions when Emilia is saying the opposite of what Othello expects and intended to hear. I should put my hand on my forehead when I was irritated by Emilia’s unreasonable arguments.           

The play let me understand more about Emilia. Her loyal personality was not what I expected as Iago’s wife. Before the rehearsals, I thought that Emilia will be on her husband’s side when she found out that Iago was behind all of the abnormalities and the death of Desdemona. Since, she claimed to sacrificed her body in exchange for her husband’s future. It, then seems like Emilia was centered around Iago’s affections throughout the scene. But, during this scene Emilia actually stand to what is right and actually was vey loyal to her mistress.    

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Jiwon Choi: Negative Space Art

  1. Negative space is the space around and between an object. The negative space is the background image. When you draw negative space art, you would shade in the space around the image and leave the object white. 
  2. I found my negative space when I was cutting out the image by knowing the basic image. I knew that the outline of image would be the positive space and the rest of the image is the negative space. In my still life drawing, I found my negative space because I know that the negative space is the background. Therefore, the actual object is the positive space. I knew that that means the spaded space had to be the background. 
  3. It helps an artist to see the negative space because this gives them a better view of the object. This is a basic technique in art, and artists need to know the basic technique in art to portray art more realistically. 
  4. Seeing a negative space enhances drawings because it shows us something that we never focused on; the balance of black and white. 
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Othello Journals: Benchmark

Journal #1: 

Now will I question Cassio of Bianca,

A huswife that by selling her desires

Buys herself bread and clothes. It is a creature

That dotes on Cassio, as ’tis the strumpet’s plague

To beguile many and be beguiled by one.

He, when he hears of her, cannot refrain

From the excess of laughter. Here he comes.

As he shall smile, Othello shall go mad.

And his unbookish jealousy must construe

Poor Cassio’s smiles, gestures, and light behavior

Quite in the wrong.—How do you now, lieutenant?

 

Before Iago begins talking to himself, he and Othello are talking. Then he begins to talk to himself going on and on about Cassio and Bianca's relationship. He talks about how Bianca is a prostitute and gets clothes and food from being like this. He goes on to say that Cassio gets all fizzy and giggly inside, when she is around. I thought that at first Iago and Othello were going to talk about Cassio and Bianca's relationship together, but then Othello disappears, and Iago is just venting on how he feels about their relationship to himself, he wishes people were there but just wants to get it out. 


Journal #2:

In Act 3 scene 1, Emilia is talking to Cassio and he is begging to speak to Desdemona. Finally, Emilia lets them talk, and they have a intense conversation involving Othello and Cassio's relationships with them, they agree that their husbands are acting weird, for no obvious reason. In the play, Emilia is kind of like an extra person who is just there. She didn't come into the play until like midway through. She was like an extra set of eyes and ears through the whole thing. She always had something to say, and I'm not convinced that people actually care what she has to say and listen to her. She sees everything that is going on first hand, and that gives her a better opinion on it. For the most part, I think that every character sees Emilia the way she sees herself. They see her as annoying and always butting into everything thats going on. They don't hate her or tell her to go away or anything, but they don't listen to her either. They just see her as an extra, like she sees herself, but that doesn't really bother her. When we watch Emilia on her own, I noticed a lot of different things. I noticed her before as like a semi-important person who people really valued and cared for. Although when I looked into her more on my own, my opinion changed. It was so strange that now she came off as a nobody, who really didn't make too much of a difference in "Othello". 

Journal #3: 

Throughout Desdemona's life she didn't have many struggles or things that she had to spend hours trying to fix or figure out just the right thing to say or do. Her dad was always very protective and led her in the right direction for everything. She never had the chance to make her own decisions, so when it became time for her to decide what to do about Othello and the handkerchief she was lost. She wanted to tell the truth but she also still wanted Othello to be able to trust her. She blurted out that she hadn't lost the special gem of his mother in anticipation that she would be able to find it within a timely matter. Unfortunately, she had no idea where it was. If Desdemona was raised differently I don't think she would have ran into a problem like this where she was lost and confused on whether to lie or tell the simple truth to someone who loved her. 


Journal #4:

My character, Iago, doesn't move much, because for most of the scene he is just talking, but towards the end he has to hide and while he is hiding he shouts something that could jeopardize his life, but since he is in hiding, he screams it and is fine. I have to bring in a coin like maybe make a big coin and lie it to my pants so that you can see it. I'm having that coin, because during my part Roderigo is talking about how he has a coin and like a coin purse with it. It's not a big important part of the story, but it's something that adds a relation between the text and the acting. The thing thats going to make my group stand out is that we have memorized most of our lines and we have spent a lot of time going over and over what we are going to do. We have planed where we are going to stand and then where we are going to move throughout the whole scene.  


Journal #5: 

My character, Iago says a lot in our performance and much of it is important but one line really stuck out to me. While he is hiding from Brabantio he shouts “Zounds sir, you’re robbed, for shame put on your gown! Even now, now, very now, an old black ram is tupping your white ewe! Arise I say!” He was tell him to wake up and put his robe on and that now at this very moment Othello (black ram) could be having sex with Desdemona (white ewe). That is important because Brabantio didn’t know about Othello and his beloved daughter, so when he heard this he was very angry and upset. Iago and Brabantio knew each other, so thats why Iago was hiding from him while he was screaming this revealing information. During this whole scene, Roderigo is scared of Brabantio and if very timid, but on the other hand Iago is blankly going out and saying what needed to be said. Though, when he hides and shouts this, it makes it seem like he is scared of what Brabantio might say to him, but really he’s not, he just doesn’t want Brabantio to seem him since he knew him. 

My groups performance did go really well in my opinion, I wish I could have remembered my lines better and not have looked at the paper as much, because I think that would have made it much better, since my other group members memorized all of their lines. Because they memorized all of their lines, it freed them up to move around the stage more and have more emotion and interaction with the audience. Preforming the play really helped me understand better, since I am a visual learner it was easy for me to just watch and act out what was going on instead of just hearing or reading the words. It is much easier for me to understand, when there is interaction and moving and things of that sort of thing it laid out everything in my head for me, because while reading the book in class and listening to the audio, I knew what was going on but I couldn’t visualize anything, but with the acting and the scene I could. 

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Jaime Christmas- Othello Journals Benchmark

Jaime Christmas 

Gold Stream 

4/30/13 


Journal 1: Soliloquy Analyzation  

Act 4 Scene 1 Lines 70-79

“Bade him anon return and here speak with me,

The which he promised. Do but encave yourself,

And mark the fleers, the gibes, and notable scorns

That dwell in every region of his face.

For I will make him tell the tale anew

Where, how, how oft, how long ago, and when

He hath, and is again to cope your wife.

I say, but mark his gesture. Marry, patience,

Or I shall say you are all in all in spleen,

And nothing of a man.” 

-Iago 

In this soliloquy Iago is speaking with Othello. Iago is setting up the plan to prove to Othello that Desdemona is in fact sleeping with Cassio. During this entire speech Iago is quick and on his toes. Othello and him are both awaiting Cassio’s appearance with evil intentions for him. In the first sentence Iago’s eye contact with Othello is direct. He continues to speak low and swift so Othello can hear everything that he is trying to say, and understand it without giving away to Cassio that they may have been speaking previously. Starting at line 77, Iago slows down the pace of his speaking greatly and lowers his voice slightly, so it will require Othello to listen closely. Iago tells Othello to keep himself calm, because not only will his cover be blown by his outbursts caused by his anger towards Cassio, but Iago will think that Othello has no self control, therefore he is not a real man. This is a point that Iago didn’t want to lose through communication, and a serious point he wanted to get across.

Journal 2: Character Analyzation 

In Act 3 Scene 1, Emilia comes to Cassio with bad news about his chance of being reinstated into the military. First hand Cassio sees nothing, he only has a brief conversation with Iago about how he wants to clear his name with Desdemona, by getting through Emilia. By this point in the play, the only person Cassio has spoken with about his job is Emilia. He only hears what Emilia has told him which is what Othello supposedly said. When concentrating only on what Cassio knows and what he says up to this scene, we can clearly see that he's not trying to start any trouble. Cassio just wants to clear his name so he can get back to work, and out of the dog house with Othello

In Act 4 Scene 1, Iago and Othello are plotting against Cassio, so Iago can prove to Othello that Cassio was in fact cheating with Desdemona. When talking to Iago, Cassio thinks that they're going on about how pathetic Bianca is because he thinks that she's in love with him. The thought is so ridiculous to Cassio that he stifles a laugh. Cassio then hears second hand from Iago that there were rumors of him marrying Bianca and he says that he would never marry a whore. While all of this is going on Othello believes that they are speaking of Desdemona. When only reading what Cassio is saying we know that there are just severe miscommunication between him and Othello, because they are talking about completely different people. If Cassio really knew who Iago was speaking of he wouldn't have said those things. 

Journal 3: Character History

Iago’s entire life was already completely set up for him before he even entered the world. His cookie cutter lifestyle was to have no speed bumps or interruptions of any kind. His parents believed that “you get out of anything what you put in.” So, of course, he did as well. Iago’s parents didn’t want to hear of any other plan that he had besides what they had already came up with. If he even uttered a word of something different they shut him out entirely. He began to learn that, if he wanted a different lifestyle, he would have to lie to his parents so that they wouldn’t question what he was up to. If they thought Iago was at the library, he was probably somewhere trying to figure out a way to get out of trouble that he’s gotten himself into. The idea of rebellion was looking better and better everyday, but Iago didn’t know a way he could do that without disappointing his parents. He then realized they never had to know. Lying became a form of survival, a life source. There was no other way he could please everybody and do what he wanted except by completely manipulating the truth. But this habit soon became less of a tactic to do things that he really desired, and more of a game.

Journal 4: Performance Prep 

For my scene, the very first scene of the play, I'm responsible for setting the tone of everything Iago is thought to be. Which is being sneaky, and conniving while creating the idea that he is the most honest man around. I will be bold with my actions and powerful with my voice because Iago is fairly confident in everything he does. I don't know if I'll have access to this, but I really wanted to use a cape in my performance. I always see the stereotypical bad guy in a cape, and I think it would just go exceptionally well with Iago's character. Something that's going to make our scene stand out from others is that we're starting from outside and going in to create the illusion that we are walking around outside, just going for a casual stroll. People in the audience will be able to get a better feel of where we are, and what our objective is, if we move around instead of just standing in place up on stage. 

Journal 5: Post Performance

“Why, there’s no remedy, ‘tis the curse of service: Preferment goes by letter and affection and not by old gradation, where each second stood heir to th’ first. Now sir, be judge yourself whether I in any just term am affined to love the Moor.” -Iago Act 1 Scene 1 Lines 36-41 

This quote is important to the play because it sets up why Iago feels cold to Othello. There is an insight on why Iago doesn’t feel the need to bend to every one of Othello’s whims. I showed the importance of this line in the play by having an accusing tone while talking to Roderigo, because although he is not blaming Roderigo for not getting the job, he’s still trying to show Roderigo why it doesn’t make sense for him to respect or do things for Othello. 

Our groups performance did go as expected. There weren’t many stage directions so as long as our lines were okay, there weren’t many opportunities for mistakes. I’m proud that everyone had nice control over their lines and that they put in their greatest amount of effort to start off the play and set the tone for it. If we were to perform it again, I would change the way  the room was set up and walk down the middle of the isle to a corner of a room this would create the illusion that we were walking down a path and arriving at Brabantio’s house. 

The play didn’t really change a lot of my understanding of the play, though it made me get a better handle on the chronological order of things. But as far as the details of what everyone was saying, I didn’t really get a better insight of that with the performances. 


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Negative Space Reflection

1. Negative space the space around and between an object or image. The object is usually light colored (white) and the surroundings of the object are darker(black). 

2. I found the negative space by copying the template on the paper. After doing that I was able to cut out the drawing. then the surroundings of the actual object was cut out and placed on the opposite side of the paper so it could be joined as one big drawing.

2a. After drawing the object I shade in the parts that were empty(white). The surroundings and between the object. 

3. It lets you see the actual object. It shows contrast between the empty space and object. Using negative space makes the drawing look better. 

4. Using negative space does enhance the drawing. It lets you see every aspect of the object and what it actually looks like if you were to see the actual object. 

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