Othello Falling, Week Three: Broken Visions of Sexuality

In the third week of the Othello Falling benefit, I delve deeper into the sexual relationship of Othello and Desdemona. It’s a part of the play that has been controversial for different reasons in the past. Race, of course, has given the physical side of the marriage a “forbidden” aspect, more or less so depending on the current state of society – but it’s clear upon reading the original Shakespeare that it is not a morality piece about race. Shakespeare’s choice of Othello’s ethnicity comes from the play’s roots, as it is based on the Italian short story "Un Capitano Moro" ("A Moorish Captain") by Cinthio, first published in 1565.

In fact there are no overt sex scenes in the play. But in the relationship of the characters, as is true in many relationships that become violent or abusive, sexuality plays a large part. The “Othello” paintings of Nabil Kanso (huge canvases filled with primary colors and fevered sensual imagery), seem to portray the entire relationship as a tortured sexual one.

I have, in my experience assisting battered women, known many who told me they stayed with their abuser in part because of fear and intimidation, and in part because they felt the sexually romantic lover who initially wooed them must still be present somehow – still accessible, and it was impossible to give up on the belief that the passionate love they shared was somehow unreal.

I think it’s safe to say that communication between individuals is often at its most flawed when it should be at its best: during sexual bonding. People hide their feelings, or pour them out—they make assumptions, take on roles that they feel are expected or desired—vulnerability and intensity go hand in hand, carving volatile new paths into the psyche; or unearthing old, painful experiences, which each new bonding was supposed to have made all better.

My goal in this poetic interpretation, of course, is to try and illuminate some of the factors that contribute to violent relationships. And so as I look at the wedding night of Othello and Desdemona, I see him troubled by the passionate sexuality she displays: as a soldier, he is used to passion being displayed by camp followers (prostitutes), and to see similar lights of passion in his wife’s eyes is difficult for him to reconcile. He has idealized married love (particularly to a noblewoman, like Desdemona), and expected some kind of revelation in her sensual behavior – an impossible mix of goddess-like detachment from sexuality while at the same time enjoying it with him. At first he blames himself for not seeing that in her, but that will change, as the seeds of possessiveness and jealously grow. As for Desdemona, she continues to exalt her marriage as a symbol of new freedom and strength, and puts Othello in her mind far above the petty aristocratic noblemen who have surrounded her in the past. He is not really there as a person in her perceptions, and so she misses every signal of his sudden doubt in her qualities as a woman of “great heart”. They are objects to one another, and this, more than anything, lays the groundwork for the feelings of mutual betrayal that are soon to grow into violence.

"Othello Falling" Production Diary - After the First Weekend

Othello Falling Production Diary

August 16, 2011

The opening of the Othello Falling benefit was exciting and satisfying – so many friends stood up and made their support known, by commenting, re-posting the links to the benefit site all across the internet, and offering the kindest words to Jaeda and myself for the effort we are making. A special thank-you to Gina, Kristaline, Lisa, Lucy and Rose, who went above and beyond in their support, advice and encouragement.

I think my favorite moment in the aftermath of the opening was a note from Jaeda (who had never heard my voice before), telling me that her feathered housemate, Birdie Boy, had begun to warble at the sound of my recitation as Othello. What more delightful validation could there be than that?

But of course there is much more to do, and I quickly settled myself down to continue the project. My thoughts had always been clear in my mind that I wanted to follow the first recitation, which introduced Othello and Desdemona on their wedding day, with vows exchanged between the two. Somehow in those vows I wanted to display, subtly at first, the gap between their visions of one another and the realities that would very quickly begin to pull apart their harmony together. Othello, in his vows, out and out admits he is puzzled why Desdemona should love him. He is much older, and has known very little in his life but war. He sees pleasure and fire in her eyes, and tells himself that there can be no other reason for that than honest love, for he has no “temptations” to offer her – equal youth, or cultured learning – that might be serving to cloud her perception. And this is of course true, though his perception of that love will change, as his own self-doubts gnaw at him. For Desdemona, my writing of her character has grown in many ways since I first heard Jaeda read the part. I always thought of Desdemona as a strong woman (as I believe Shakespeare portrayed her, though this is not always brought out in theatric productions), but Jaeda’s Desdemona is fierce and fiery indeed, making me think her character has been brought to a high-strung emotional edge herself, from a lifetime of being controlled and used like a possession. In the rebellious act of her marriage to Othello she sees an end to servitude, and a freedom to be strong with a man who should be accustomed to strength; in her eyes he has emerged from war and strife with what she feels is nobility and a form of proud wisdom. In short, she is quite blind to his doubts and troubled sense of self-worth.

I think these currents of emotion and expectation echo what happens in many relationships that become abusive. The baggage carried into the relationship – old violence, self-doubt, idealization of one’s partner based on flawed perception – is ignored in the beginning, but ignoring it only lights an unseen fuse, which will haunt and shadow the sometimes nearly-mad happiness of passionate infatuation.

So the wedding vows of Othello and Desdemona are in fact poignantly sad and unknowingly desperate…neither one truly sees the other at all.

Visit the ongoing Othello Falling benefit against abuse HERE
Visit Community Action Stops Abuse HERE

Curtain Up on "Othello Falling"

A diary on the creation of Othello Falling, by R. Paul Sardanas

Today the curtain is going up, after a busy week pulling together all the threads of this production. Of course at the same time I've been working at my full time day job, and taking care of home, but I've felt a tremendous thread of excitement growing as the opening day has come closer and closer. For a long time, while pondering a second benefit to support Community Action Stops Abuse (and the fifth anniversary of the Poets Against Abuse movement), I deliberated on how best to meld entertainment and enlightenment in a form that people could enjoy for its own sake, and come away from with a determination to do whatever they can to oppose cruelty and abuse --whether that might be to donate to CASA (the beneficiary of this benefit, a safe haven organization for women and children trying to free themselves from domestic and other abuse), or simply to try and be more conscious in their own lives...to choose, as often as possible, thoughtfulness, consideration, and kindness when dealing with the hard issues within relationships. Instead of anger...instead of hurt.

I chose Othello as the vehicle for the benefit early on. I've always been entranced by the story, and of course the characters would give me as a writer the strong centers of thought and emotion that I wanted -- to explore the kind of dark passions that give rise to abuse and violence. So I sat down with my many "Othello" themed books: Nabil Kanso's brilliant, dark and sensual collection of Othello paintings...Harold Bloom's insightful exploration of the themes of the play...several novels based on the story...my favorite movie version, with a young Laurence Fishburne (later of Matrix fame) as the Moor. They were all wonderful, all inspiring. So in typical mad fashion, I decided to mirror them all. A series of oil paintings that will soon begin to appear on the site, a book that I can sell to benefit CASA, and the crowning segment of the benefit, a performance of a kind of play framed into poetry, to post and run online.

Though no actor (if I were to step on a stage, I'm certain my face would turn bright red, and I would forget every word in the English language), I resolved to take on the part of Othello. For Desdemona, I have many dear friends that I might have asked, but one stood out in a brilliant spotlight in my mind: Jaeda DeWalt, a spoken-word poet, a luminous creator of photographic art, and a person with a powerful spirit and heart.

Jaeda and I have never met...we live about as geographically far apart in the continental U.S. as possible (the Pacific Northwest and the Gulf shore of Florida). But we have been friends for years, and she took part in the original Poets Against Abuse benefit I organized in 2006. I have watched her unfold one astonishing creation after another as a creator and artist, and she has always applauded as I worked within my own creative and collaborative artistic world. When I asked Jaeda, I of course braced myself that she might be too busy with her own amazing career...but she didn't hesitate for a moment, telling me she would be honored to be Desdemona for this benefit. I described the concept and sent her Desdemona's first recitation, assuring her that I would totally respect the demands of her schedule, asking her to create an mp3 reading when she could, to launch the benefit. Within 24 hours, it was in my mailbox. Jaeda, you are just too much.

And so here we are, the curtain about to rise. We will add to the growing play-in-poetry every week, unless the demands of life interrupt...and I am proud and happy beyond words to offer this creation, along with the hope that people who are touched by it will walk away desiring -- in whatever small or large fashion -- to embrace an end to cruelty.


Visit the "Othello Falling" Benefit HERE

Poetry Against Abuse

In 2006, I had the honor of publishing a collection of remarkable poets, all of whom donated their work in an effort to support survivors of abuse. The "Nox" collection appeared both in print and online, and all benefits from its sale went to a safe haven organization called CASA (Community Action Stops Abuse), which provides support to women and children struggling to free themselves from environments of abuse in their lives.

To celebrate the five-year anniversary of that book, I am producing another collection, this time solely of my own poetic works, to again benefit CASA. "Othello Falling" will explore themes of jealousy, passion and violence from the Shakespeare play, with the hope of illuminating how loving relationships can spiral down into pain and hurt. Perhaps through that awareness, men and women caught in that terrible cycle can find keys to change that downward spiral in their own lives -- to seek for healing and safety.

As the book evolves I will post excerpts from it here and on my website, along with a series of oil paintings that will accompany the poetry. When "Othello Falling" is released, all profits from its sale will go to benefit Community Action Stops Abuse.

So today I look back to honor over forty poets and artists who contributed to "Nox", including the writer who inspired it, Don McGregor, and many dear friends who donated their creative power from all over the world. The online collection can still be viewed by clicking the highlighted link below, and there are many further links on the anthology pages to CASA, for anyone who would like to learn more about the work they do:

The Nox Anthology: Poets Against Abuse

I also look forward, recognizing that the work to provide support and catharsis, healing and safety to abuse survivors never ends, but our caring and creativity can shine a light into that dark place, and offer hope.