{"id":66188,"date":"2024-10-01T12:22:57","date_gmt":"2024-10-01T10:22:57","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/resensie-tragedie-van-othello-hier-ondermyn\/"},"modified":"2024-10-02T17:39:36","modified_gmt":"2024-10-02T15:39:36","slug":"resensie-tragedie-van-othello-hier-ondermyn","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-tragedie-van-othello-hier-ondermyn\/","title":{"rendered":"Resensie: Tragedie van Othello hier ondermyn"},"content":{"rendered":"\t\t
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THEATER<\/h6>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Fel politieke inslag bevlek Shakespeare <\/span> <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Produksie: Othello<\/strong><\/span>
Deur: Willem Bester<\/strong><\/span>
Foto\u2019s: Gys Loubser<\/strong><\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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In sy inleiding tot die Royal Shakespeare Company se uitgawe van Shakespeare se volledige werke haal Jonathan Bate vir Ahmed Kathrada aan: \u201cSomehow Shakespeare always had something to say to us.\u201d Ho\u00eb lof deur \u2019n apartheidstryder, dus. Sulke pryswoorde \u2013 \u2019n blote druppel aan die spreekwoordelike emmer \u2013 beteken seker egter nie Shakespeare-tekste moet as heilige skrif gehanteer word nie: Groot kuns nooi tog altyd herbesinning uit. Of \u2019n betrokke hervertolking suksesvol is, is natuurlik \u2019n ander vraag. <\/p>\n

In Lara Foot se aanpassing van <\/span>Othello<\/span><\/i> word die aksie verplaas van die Republikeinse, kosmopolitaanse Venesi\u00eb en Mediterreense Ciprus na \u2019n Imperialistiese, verkrampte Berlyn en stowwerig dro\u00eb Duits-Suidwes-Afrika, vermoedelik in die doodsnikke van die sogenaamde \u201cscramble for Africa\u201d, toe sowat 90% van Afrika formeel deur Europese magte gekoloniseer is en die landsgrense van Afrika \u2013 wat tot vandag toe staan \u2013 in bloed op die kaart getrek is.<\/span><\/p>\n

Die eponieme Othello word \u2019n swart generaal in diens van die Duitse magte en is veronderstel om die plaaslike mense in bedwang te bring. Iago en Rodrigo word Boere-Afrikaners wat hulle lot by die Duitsers ingegooi het. Dit is \u2019n verplasing wat in alle opsigte behoort te werk\u2026 maar in die aanpassing is daar baie wat nie heeltemal pluis is nie. Die produksie is aanvanklik in 2022 by die D\u00fcsseldorf Schauspielhaus in Duitsland aangebied. \u2019n Mens verstaan dus hoe en waar die sterk antikoloniale ondertoon staan in huidige politieke debatte in Duitsland. Die vraag is egter hoe dit veronderstel is om te lees vir \u2019n Suid-Afrikaanse gehoor: Die bloedsonde van en vergrepe gedurende \u2019n mandaat n\u00e1 1918, wat n\u00e1 1966 onwettig voortgesit is? <\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Foot se teksbyvoegings en -aanpassings is nie subtiel nie, maar subtiliteit was kennelik nie die bedoeling nie. Die kwessie is onder meer hoe so \u2019n sterk histories-politieke inslag setel in die bestaande teks. Een probleem is dat die hele aard van klassieke tragedie ondermyn word: Othello is nie meer \u2019n tragiese held nie \u2013 daar is weinig sprake van \u2019n fatale fout wat tot sy ondergang lei. Hy word eerder die beliggaming van die Afrikaan wat as speelding deur die koloniale gode misbruik, gebreek en verneder is. Shakespeare was veel subtieler. Omdat dit \u2019n skepsel van sy tyd was, het hy heel moontlik in die term \u201cMoor\u201d meer religieuse as raskonnotasies gehad. Hoewel daar strekkings van Die Ander was, het die Islamitiese w\u00eareld vir Elizabethaanse Engeland ook geleerdheid en beskawing gesimboliseer, iets wat nie strook met die koloniale begrippe in die huidige produksie nie. <\/span><\/p>\n

Iago se prim\u00eare beweegrede word dikwels as suiwer kwaad gelees, sy jaloesie \u2019n blote masker om sy onberedderbare boosheid te verdoesel. In di\u00e9 weergawe kom hy meer eendimensioneel voor, as bloot \u2019n onverkwiklike rassis, en, uiteindelik, \u2019n moordenaar. Hy is veronderstel om die opperste poppespeler te wees. Hy fluister en insinueer, maar sy hande bly sonder bloed. Dat hy dus in Foot se weergawe die een is wat Desdemona om die lewe bring, is \u2019n ongemotiveerde dwarsklap en beteken daar kan geen katarsis wees nie (want hoewel Othello dink hy het Desdemona self vermoor, w\u00e9\u00e9t die gehoor dit is nie so nie). Dit kan net \u2019n hedendaagse politieke strekking h\u00ea. <\/span><\/p>\n

Uiteindelik kom die aanpassing voor soos \u2019n sop van metaforiese oorskietbestanddele. Hoe, byvoorbeeld, is ons veronderstel om die wit en bruin akteurs te kodeer? Is die prominente kopbeenontwerp in die eerste bedryf \u2019n vooruitwysing na Nazi-Duitsland? Waarom is Iago met \u2019n swart vrou getroud? <\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Othello is nie meer \u2019n tragiese held nie \u2026 Hy word eerder die beliggaming van die Afrikaan wat as speelding deur die koloniale gode misbruik, gebreek en verneder is. Shakespeare was veel subtieler. Omdat dit \u2019n skepsel van sy tyd was, het hy heel moontlik in die term ‘Moor’ meer religieuse as raskonnotasies gehad. <\/em><\/h4>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Die gebruik van Afrikaanse, Duitse en Xhosa-dialoog het ook afbreuk gedoen aan die oorspronklike Engelse po\u00ebtiese taal. Pleks van boustene vir karakteridentiteit het dit eerder as klankeffek oorgekom, vermoedelik geplaas op die veronderstelling dat die gehoor nie oral alles sal verstaan nie. D\u00edt het weinig plek in Shakespeare. Die ekstra alleensprake wat in Othello se mond gel\u00ea word, steur die spelritme en laat geen ruimte vir subtiliteit nie, maar met so \u2019n fel politieke inslag is dit ook nie verrassend nie. <\/span><\/p>\n

\u2019n Mens gee wel toe dat die produksie op tegniese vlak goed daar uitsien. Die spelruimte is behoorlik gebruik, en die ontwerp deur Gerhard Marx het beslis tot die sukses bygedra. Kyle Shepherd se musiek verdien besondere vermelding, insgelyks vir die sensitiewe onderbou tot die narratief as werklik ge\u00efnspireerde komposisie. <\/span><\/p>\n

Foot het \u2019n gedugte span akteurs bymekaargemaak, wat insluit Atandwa Kani, Albert Pretorius, Carla Smith en Faniswa Yisa, Carlo Daniels en Wessel Pretorius. Kani het uitstekende spel gelewer as die naamkarakter, hoewel \u2019n mens tog gedink het sy akteursvernuf is nie genoeg vrye teuels gegee nie. <\/span><\/p>\n

Albert Pretorius was \u2019n goeie keuse vir di\u00e9 weergawe van Iago, onverbeterlik in die rol van \u2019n sekere soort Afrikaner. Smith was eweneens goed geplaas as Desdemona, gelyk broos en onskuldig, maar met die nodige ruggraat wanneer sy haar huwelik met Othello verdedig. Yisa het vir \u2019n eersteklas Emilia gesorg, haar passie en smart ewe skroeiend. As Cassio het Daniels goed gevaar as die een karakter wat steeds sy tragiese ondergang gegun is. Wessel Pretorius het geskitter met sy komiese inslag as die patetiese, beenaf Rodorigo. <\/span><\/p>\n

Gegewe di\u00e9 talent, laat dit \u2019n mens weer eens met die kwessie van waarom jy ietwat bedro\u00eb voel. Kathrada slaan die spyker op sy kop: Shakespeare het altyd iets om vir ons te s\u00ea. Maar die moraliserende inslag van di\u00e9 <\/span>Othello<\/span><\/i> is nie Shakespeare nie. As jy wil preek, skryf liewer jou eie stuk. <\/span><\/p>\n

Hierdie was die laaste show.<\/strong><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

<\/i> Willem Bester<\/p>\n","protected":false},"author":3799,"featured_media":65828,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[400,516],"tags":[517],"class_list":["post-66188","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-theatre","category-ink-festival-newspaper-2024","tag-ink-festival-newspaper-2024"],"yoast_head":"\nResensie: Tragedie van Othello hier ondermyn - Toyota Stellenbosch Woordfees<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-tragedie-van-othello-hier-ondermyn\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resensie: Tragedie van Othello hier ondermyn - 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