Playing a Villain! Blog 31

Iago: Othello

Good morning,

I was still musing about the Stanislavksi questions when I woke up this morning. And it led me to thinking about the actor's approach to playing heroines and villains. Yesterday I was talking about motivation and of course there are as many motivations as their are people! But the good/evil. yin/yang, Satan/God duality is what gives any of our drama (and often our lives!) the possibility of unleashed conflict, which in drama often turns to tragedy. Without conflict we would have no theatre.

Actors always particularly like playing villains in my experience. There is something deeply satisfying about being booed in a panto, or vilified by an audience when playing Caliban or Iago! And you can really let rip on the 'dark' side of the character's personality, relish in the plotting and deceiving motivations and all that goes with it. I suspect we like that as its a great release from being good, but with permission to be bad.  

In pursuing this and any other character research an actor could benefit from a look at the work of  Carl Jung. (26 July 1875 - 6 June 1961). His work is another great resource for actors and directors . He was a Swiss psychotherapist and psychiatrist who founded analytical psychology.He proposed and developed the concepts of the extraverted and introverted personality, and 
argued that all humanity inherits shared unconscious ideas and archetypes about roles. His work has been influential in psychiatry and in the study of religion, literature and related fields. 

I use archetypes extensively in my work as another entry point for character, and find it powerful in enabling the actor to locate the core shape and qualities that might be attributed to the character they are to play. 

Thinking about villains in particular I always come back to Iago, who is arguably Shakespeare's best villain. I have always found him fascinating, attractive at the same time as riven with a corrupt heart.

One role that Jung studied in particular is that of the Trickster. The Trickster is the archetype of a character that continuously breaks rules and tests boundaries through trickery and stealing. Human activities, even in the modern world, have archetypal correspondences in myth. Shakespeare’s character Iago is the Elizabethan trickster. He has uncontrollable expressions and crosses boundaries with his cunning actions and ability to weave stories together.

Although Iago is human and doesn’t have the mystical power of shape-shifting, he transforms himself through words depending on his agenda and his audience.  Iago’s obscurity comes from his motives. Although he gives many potential options, the audience can never fully understand his reasons for wanting to destroy Othello. Although adapted by cultures, the Jungian archetype of the trickster transcends time and Iago inherits ancient trickster attributes centuries after they were first introduced.

Iago: 

I am not what I am

Othello Act I.1.59-66

Were I the Moor, I would not be Iago;

In following him, I follow but myself.

Heaven is my judge, not I for love and duty,

But seeming so for my peculiar end.

For when my outward action doth demonstrate

The native act and figure of my heart

In complement extern, ‘tis not long after

But I will wear my heart upon my sleeve

For daws to peck at. I am not what I am.

Using the Trickster archetype to explore Iago enables the actor to access rapidly a huge resource of data and experience that he can bring immediately to bear in his deepening excavation of the role.

By making the attributes of this explicit the actor quickly internalises most of Iago's motivations. He believes that honesty and weakness walk hand in hand. To him, individuals who “demonstrate / The native act and figure of my [their] heart / In complement extern” leave their heart for “daws to peck at”. 

In stating this, Iago reveals his fear of honesty. If Iago were to communicate his truthful, honest, “native” feelings to Othello, he would be opening himself to criticism. After all, Iago has been disappointed by the appointment of Cassio. 

To Iago, this is devastating. For Iago, telling Othello of this truthful emotion would be exposing himself to harsh reprimand, and embarrassment. In his mind, honesty would require him to put his heart’s desires in the open where they could be wounded and “pecked at” by those around him. Therefore, instead of honesty, Iago will veil his true nature with a disguise. He claims that “I am not what I am”. When offered the opportunity for honest, open discussion, Iago will choose lies, deceit and corruption. He will hide his heart, and present his companions with a false Iago, not what he truly is. Ultimately he will do whatever it takes to protect himself through deception.

Its great fun working with archetypes on finding character. Thanks to my friend Amari Blaize whose in-depth work on archetypes has helped me to develop ways of working with them with actors to find and develop character. What actors find through these are invariably fascinating.

Have a good day - don't get into mischief or spend too much time on the dark side!