Othello | The art of manipulation

The Théâtre du Nouveau Monde (TNM) concludes its season with one of the most popular tragedies in Shakespeare, Othello or the Moor of Veniceco -produced with the Théâtre du Trident in Quebec. A large deployment piece staged by Didier Lucien, who magnificently explores the themes of prejudices and racism.

If Didier Lucien wanted to create this Shakespeare play, it is first and foremost because it had never been set up in Quebec.

“She was climbed to the TNM almost 20 years ago, so there are many people who have never seen this play,” he explains to The press. In this context, there was no proofreading to make, it was necessary to tell this story a little for the first time, prioritizing clarity and accessibility. »»

The Montreal director also wanted to put forward the talent of two young racialized actors.

In the case of the character of Othello, interpreted by Rodley Pitt, the choice is less surprising, since in the very room of Shakespeare, it is a Moor-that is to say a North African. Since the early 1970s, these are generally color actors who have embodied the General of the Venetian army.

But in the case of the character of Iago, an officer who wants to provoke the fall of Othello, but above all his break with the beautiful desdemona, we can speak of a more daring choice. The fact that he is also racialized accentuates his act of betrayal vis-à-vis Othello.

“We had this idea together,” says Lyndz Dantiste, who embodies an Iago manipulator as desired.

“When I left the theater school, I asked Rodley what a classic he dreamed of playing. He answered me Othello. I said to him: It’s great, I prefer the role of Iago. Meanwhile, we have played in Mohammed Ali calls meand then I relaunched it. Finally, we contacted Didier so that he is staging, but we imposed our two roles a little, “he said, laughing.

A controversial marriage

Let us recall the main lines of Shakespeare’s play, written around 1602.

General Othello, in the service of the Venetian Republic, secretly marries the Belle Desdemona (Ariane Bellavance-Fafard). His father, Senator Brabantio (Jean-Marc Dalpé, who signs the adaptation), is furious. He speaks of the “black arms” of Othello, which should inspire from Demona “fear rather than bliss”.

Iago, a subordinate officer, has a tooth against Othello. He wants him to have appointed a certain Cassio (Steven Lee Potvin) as a lieutenant, but also to have slept with his wife Emilia (Myriam Lenfesty) … We also suspect him to be envious of the position that Orthello occupies in the army.

In short, this Iago Finassier will make Othello believe, who holds him in great esteem, that his desdemona is unfaithful to him. He will make the blame on Lieutenant Cassio, who will fall into disgrace, while promising Roderigo (Thomas Boudreault-Côté) to help him conquer from Demona. Othello will gradually lose his head, crazy with jealousy.

Rodley Pitt wanted to show Othello’s authoritarian side, but at the same time, he wanted us to feel his “good background”.

The public has access to the machinations of Iago, who is the real director of the tragedy which takes place before our eyes. The challenge for Lyndz Dantiste was therefore to make his character credible. To carry out her plan to bring Othello, but with charm, without doing too much.

The two performers consider themselves lucky to be able to defend characters who have “substance”.

“The classic pieces have something magnified and epic, which rise above our reality,” says Rodley Pitt. As no one lives in this reality, I do not see why the Caucasian actors would be the only ones to have access to these roles. »»

Du Cirque in Prime

Didier Lucien, who worked a lot on the transitions between the different scenes, has also integrated circus artists into his space. A discreet, but effective addition.

“I believe that everything that is spectacular should be in a show and the circus does that. It brings height, it forces the spectator to raise his head. It also softens the sometimes austere character of the theater, while adding a poetic dimension. »»

In the end, what remains topical, tell us Lyndz Dantiste and Rodley Pitt, these are the humans that Shakespeare describes in Othello. “Unfortunately, that doesn’t change,” they tell us.

Rodley Pitt goes further. “I have the impression that the character of Iago was created to make the public accomplice of the imposture of Othello, who is to marry a white woman. In fact, we pay the head of Othello, who is not a hero. Whenever I play it, I feel it. And it’s very confusing. Especially since the only person who could have been on my side makes me undergo the worst of treatments. »»

Othello or the Moor of Venicefrom May 6 to 31 at TNMConsult the show page