Othello

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   Bergen, Norway
      Premiere  February 7,2015                        Played in reperetory until April 2015

  Bill Pullman                                  Othello
  Jan Saelid                                      Iago
  Siren Jorgenson                        Desdemona

   Director:    Stein Winge

OTHELLO  Trailer:
https://www.youtube.com/watch?v=PMEkK6j3PRk

INTERVIEW:  Bill Pullman and Director Stein Winge talk about how this production of 'Othello' came to be:
https://www.americantheatre.org/2015/02/05/bill-pullman-plays-othello-as-a-stranger-in-a-strange-land-norway/

INTERVIEW:  B ill Pullman: provocatively pursuing excellence in 'OTHELLO' and 'INDEPENDENCE DAY: RESURGENCE'. October 2015 By Mary Cochrane-McIvor.
Pullman talks about creating the character of Othello, working out the dynamics of Othello and Iago with Jan Saelid, Stein Winge's unique, powerful approach to Shakespeare etc.

KULTUR   February 9, 2015
Theatre
Review

OTHELLO
      by William Shakespeare
               Den Nationale Scene  -  Bergen, Norway
               Premiere:  February 7, 2015


POTENT VENTURE  There is always a venture to "tamper with Shakespeare," but it is especially risky when it is possible and is carried out as radically as Stein Winge and Bill Pullman makes at Den Nationale Scene in Bergen. Culture Published: 9th February 2015 Last Updated: 8:19, 9 February 2015

THEATER "Othello" By William Shakespeare   Stein Winge
With: Bill Pullman, Siren Jørgensen, Jan Sælid, Ane Foam Violence etc.
Den Nationale Scene

By Nils Olav Sæverås

It's been an exciting venture ugly, a powerful and challenging version of the classic story of cultural contradictions, jealousy and betrayal, so you almost demands when Stein Winge orchestrates it all. Among the challenges is the multilingual performance, necessitated by Hollywood star Bill Pullman in the lead role, but also of the cultural differences that lead to doom in this version is detached from racial tension.
So Othello, as a general of foreign origin, is entered in the action here, as are his exclusion relevant even without race issue. The language is updated in a way that makes switching between English and Norwegian may resemble the one listening to any workplace with international staff. More importantly, however, that the linguistic modernization peels away everything archaic, makes it all the tougher. Less poetic than in the traditional language suit, but there is a kind of brutal poetry in the more contemporary interpretation as well.

That exchange between Norwegian and English never distorted, due not only that we can see for ourselves the whole place in a day's current employment, it is also due to Bill Pullman's authority in the lead role. The foreign language is still not Othello's only vulnerability. Bill Pullman's emphasis on war damage their is an unusually strong example of that physical appearance made into a meaningful, integrated and consistent part of the interpretation. Pullman has said that Stein Winge's conceptual forces was one of the created desire for a new partnership 30 years after their last one. It entails clear choices, and it involves a timeless scenography that signals an emotional landscape more than a geographical, in cold and harsh environments. It also means that nothing is held back, several of the characters are emotional explosions early in the action. One can see for themselves that there had been more effective if the emotional brutality had been somewhat rein towards drama densification.

A far more effective grip is there to do both Othello character and the whole character of the gallery around him looked distinctly masculine. Masculine anger and masculine assertiveness operates both Othello and several of the other characters, and their breakdown can also be seen as a masculinity breakdown. As love-struck insists Desdemona (Siren Jørgensen) to follow her husband Othello on the campaign to Cyprus, but ends up as an alien element in a harsh world, where everyone is used in intrigue.

Bill Pullman's Othello interpretation underpin performance and has a partly confined and partly explosive masculine force that finely woven together with an underlying uncertainty in the outside cabinet. The transition to jealousy madness is still not completely explained in Pullman's interpretation. January Sælid makes an exciting Iago, inful in the way he alternates between staying in the background and to emerge from the shadows when he is on-one, to spread their venomous lies. At the same time there is an indication that he is also someone who has been bullied. The object of intrigue, the innocent Desdemona, remain long a supporting characters, but in some crucial scenes towards the end gets Siren Jørgensen fine up her despair.

Some objections notwithstanding, with Stein Winge as ceremony master, then the "Othello" version in Bergen something far more than a Hollywood visit in Norwegian sceneliv. At its best, it's a powerful explosion from the human mind's darkest corners.

Translated from Norwegian by Microsoft.

Bill Pullman (Othello) with Jan Saelid, his (Iago)

Bill Pullman, Jan Saelid and cast members outside the theater.