Abstract:
Otello Circus is the result of a meeting between Teatro La Ribalta - Art of Diversity from Bolzano and the AllegroModerato orchestra from Milan, where a musical-theatrical work, Otello, was created. This work is based on Verdi’s opera and Shakespeare’s dramatic text. In an old, dilapidated circus, Otello is condemned to perform his personal tragedy as punishment for the brutal murder he has committed. In the circus ring, he is joined by the other characters from Verdi’s opera and Shakespeare’s tragedy: Desdemona, Cassio, Jago, Roderigo, and Emilia. They all perform the usual roles of circus performers: acrobats, knife throwers, balance artists, servants, and tamers. This tragedy of jealousy has been repeated for years, every day, even several times a day, so that the performers have become jaded, weak, and fragile, unable to stop this merry-go-round of human emotions that inevitably leads to tragedy.
Details:
The performance is an abridged version of Shakespeare's Tragedy of Othello, the Moor of Venice, condensed to a few essential characters. It includes some original quotations from Shakespeare’s text as well as arias from Verdi’s setting of the tragedy, accompanied by the inclusive orchestra AllegroModerato di Milano. At times, the spoken action is interrupted by Verdi’s arias.
The audience becomes part of the stage set as they sit on chairs arranged in a circle around the circus ring on several levels. The action takes place in an old circus where Otello repeatedly performs his tragedy, serving as the circus director. The other characters also have roles within the circus: Desdemona is a tightrope walker, Iago is a knife thrower, Cassio and Rodrigo are clowns, and Emilia is a saleswoman who offers the audience handkerchiefs at the beginning of the performance. A ghost also makes an appearance, shadowing Desdemona.
The plot centres on Iago, Otello, Cassio, and Desdemona. Initially, Otello sits in front of a chandelier lowered to the floor, resembling a blaze of fire. He is a dark-skinned actor with white makeup on his face and is asked to stand up and perform his tragedy. Thus, he opens the circus. Desdemona enters, laughing, singing, and dancing on the rope, displaying her complete trust in Otello.
Iago harbours hatred for Otello and initiates his slanderous scheme. He asks Roderigo for money to get Cassio drunk. Iago drinks with Cassio, who behaves inappropriately and falls out of favour with Otello as a result. Iago persuades Desdemona to advocate for Cassio. Iago articulates the maxim: “Reputation is gained without merit and lost without sin.”
Iago deliberately fuels Otello’s jealousy, symbolically making the chandelier circle wildly at the edge of the ring. Otello demands proof of Desdemona’s infidelity. He closes his eyes, his face contorted with pain, strikes himself on the head with his fist, falls to his knees, and lets out a silent scream. Desdemona dabs his forehead with a handkerchief.
Iago takes the handkerchief, convincing Otello that Desdemona’s loss of it is proof of her infidelity. Otello kills Desdemona by wrapping her up and throwing red roses at her. The chandelier is lowered once again, and Otello crouches in front of it, mirroring the beginning of the performance.
