Shakespeare Othello Stage 5/Year 10 Stage 5/ Year

10
Rationale

This unit will be a close analysis of Shakespeare’s Othello, while also using the text as a catalyst in promoting creativity and

imaginative responses with students. This will be achieved through the pedagogical approach of using a broad range of creative

exercises, that will have students writing in different modes and mediums. Smith (2013) has suggested, strengthening a student’s

own voice in creative writing is the bridge between imagination and expression. Therefore, it is important for students to explore

the unique ways a voice can be expressed and altered through different contexts, modes and mediums.

This unit of work begins with students watching Parker’s Othello (1995), an adaptation of the original text. This is followed by

a deconstruction of the key ideas and scenes within each act. Othello was originally intended to be performed and because of the

complex Shakespearian language, it is appropriate for students to see and hear the articulation, tonality and diction of the play,

in a context they would understand. Creativity stems from a deep knowledge of a text, “The most direct and simplest was to

achieve personal and unique but closest-to-text experiential meanings of any text is to conduct a very careful, attentive

examination” (Wu, 2018, p.1006). After lesson six, the lessons become more creative writing focused, using gender, symbolism,

motives, imagery and ethics within Othello as inspiration. Kitt (2019) argues, “it is through reception and production of texts

that students come to affective and ethical understandings of who they are” (p. 52). Many of the exercises within the unit, ask
students to assess the information presented to them. Giving student’s autonomy and allowing them to import their perspectives

into their creative writing.

Using multiple modes and media, requires students change writing styles, presentation and audience to meet its desired effect.

Humphrey & Feez (2016) have suggested modelling guided practice, gives students who do not have a strong sense of creativity,

a sense of structure and guidelines they can follow, which will promote creativity through a structured regimen. For example,

one of the lessons involves doing an interview with the character Iago. To do the task, the students must abide to the literary

conventions of interview. By restricting what the student can and cannot do they have to think in new ways, which can be

challenging because the students might be outside of their comfort zones but also empowering as they are thinking in new

contexts.

To conclude, this unit has engaged with a variety of different modes and mediums. Although we are only briefly touching on

different modes and mediums, there will be an overlapping effect between them. This is because each creative exercise works

towards strengthening a student’s sense of creative voice. Welch (2010) makes this statement, “I am aware that most of my

students will never work as technical writers, though they will all do some types of technical writing” (p. 37). Therefore,

strengthening a student’s voice through creative writing helps them to engage in many forms of technical writing.
References

Humphrey, S., & Feez, S. (2016). Direct instruction fit for purpose: Applying a metalinguistic toolkit to enhance creative
writing in the early secondary years. Australian Journal of Language & Literacy 39(3). 207 – 219. Retrieved from
http://web.b.ebscohost.com.ezproxy.uws.edu.au/ehost/detail/detail?vid=13&sid=52f9f757-70e7-467b-aba2-
33bbc154c7b8%40sessionmgr120&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#db=ehh&AN=118356958

Kitt, B. (2019). Creating connections between senior and middle years: Perceptions on teaching the art of creative writing.
Literacy Learning: The Middle Years 27(1), 51-59. Retrieved from
http://web.b.ebscohost.com.ezproxy.uws.edu.au/ehost/pdfviewer/pdfviewer?vid=4&sid=dc644732-254b-4feb-8eb1-
9f7cf3e2fdae%40sessionmgr101

Smith, G. (2013). Dream writing: A new creative technique for secondary schools. English in Education 47(3), 245-260.
Retrieved from https://doi-org.ezproxy.uws.edu.au/10.1111/eie.12020

Welch, K. D. (2010). Poetry, visual design, and the how-to manual: Creativity in the teaching of technical writing. English
Journal, 99(4), 37-42. Retrieved from https://search.proquest.com/docview/237307200?accountid=36155

Wu, S. (2018). Close reading: A cornerstone of text appreciation in advanced english. Theory and Practice in Language
Studies, 8(8), 1005-1009. Retrieved from http://dx.doi.org/10.17507/tpls.0808.12
Resources.

Film adaptation of Othello (1995) by Oliver Parker

30 copies of the text No Fear Shakespeare: Othello (2003) Spark Publishing.
Worksheets are attached at the end of the unit of work.
Content
Lesson 1
Lesson 2
Outcome 1
“Responds to and composes increasingly
sophisticated and sustained text for
understanding, interpretation, critical analysis,
imaginative expression and pleasure” (English
Syllabus k-10, 2012, p. 141).
Content point
Analyse and explain the ways language forms and
features, ideas, perspectives and originality are
used to shape meaning. (English Syllabus k-10,
2012, p. 142).
Teaching, Learning and Assessment Resources
Watching the Film Othello Parker (1995). This could be Othello (1995)
included into the unit or done prior to commencement of the
unit.
Act 1 Worksheet attached to the unit of
This lesson will be a close reading of Act 1. The teacher and work.
students should summarise the plot of the Act. This lesson will
Focus on each character’s motives, strengths and weaknesses.
This lesson should exclusively focus on the characters
behaviour during Act 1.
Important points to teach the class include:
 This is a play about deception and secrecy. The
opening Line suggests this idea.
“Tush! Never tell me” (Act 1, Scene 1, Line 1).
 Othello and Desdemona are also deceivers, they marry
in secret.
 First act provides reasons for Iago’s hate for Othello.
That being Cassio’s promotion to lieutenant.
““already chose my officer.” And what was he … Michael
Cassio … That never set a squadron in the field” (Act 1, Scene
1, Line 23).
 Iago believes that Othello slept with his wife although,
this is never confirmed.
“And it is thought abroad that ‘twixt my sheets … I know not
if’t be true, But I … Will do … my purpose work on him” (Act
1, Scene 3, Line 382).
 Another reason for Iago’s hate is the idea of Motiveless
Malignity or ‘evil for the sake of being evil.’ This is
explored with his hatred of Othello.
“I hate the Moor … Thine hath no reason” (Act 1, Scene 3,
Line 360).
Exercise Character Profiles.
Attached to this unit of work is a worksheet involving
characters profiles. A portion of the lesson should be dedicated

Lesson 3
Outcome 1
Content points
Analyse ideas, information, perspectives contexts
and ideologies and the ways they are presented in
increasingly demanding, sustained imaginative,
informative and persuasive texts. (English
Syllabus k-10, 2012, p. 141).
filling out the characters profiles exclusive to Act 1. Here are
some key points for the students to consider:
 Othello – Charismatic, articulate and trustworthy.
 Desdemona – Devoted to Othello.
 Iago – Envy, Jealous and proud.
 Roderigo – Foolish, blinded by love.
One of the key questions within this exercise is, what language
forms and features has Shakespeare used to support these
ideas? Use evidence to support this.
Class debate
Divide the class into 3 groups. Why does Iago want to destroy
Othello? Students will make an argument for each point:
 Othello slept with Iago’s wife.
 Iago is taking revenge on Othello for not getting the
promotion.
 Iago has Motiveless Malignancy and is ‘evil for the
sake of being evil.’
The groups will gather evidence and try to argue their point.
Students can use rebuttal and change opinions if they feel a
group has persuaded them.
Extended Response
Students will write an extended response, Why does Iago
want to destroy Othello? What evidence from the text is
used to support this idea? 200 – 300 words.
Act 2
This lesson will be an in depth focus on Act 2. Teacher and
students should summarise the key plot points within this act.
Here are some points for the classroom to consider:
 Iago’s treatment of women within Act 2 Scene 1.
Lines like, “you rise to play and go to bed to work.” (Act 2,
Scene 1, Line 123)
 Iago hates Othello so much that he wants to sleep with
Desdemona. Not out of lust but because he hates
Othello that much.
“Now, I do love her too, Not out of lust … but partly led to diet
my revenge” (Act 2, scene 1, Line 288).
 When you combine his treatment of women along with
Cassio getting the promotion and not Iago. Meaning
that Cassio will be closer to Othello and not Iago. Iago
might be trying to destroy Othello because he has
homosexual feelings for Othello, ‘If I can’t have him
no one will.’
 Another contemporary reading of the character is Iago
is a sociopath.
Definition of Sociopath - a person with a personality disorder
manifesting itself in extreme antisocial attitudes and behaviour.
Here are some characteristics of Sociopaths:
 Superficial Charm.
 Manipulative
 Grandiose Sense of Self.
 Pathological Liars
 Lack of Remorse and/or Guilt
 Incapacity for Love.
 Need for Stimulation.
Iago’s Shrink Writing Task – Interview
Students are going to pretend they are Iago’s psychologist
and/or counsellor, they are going to diagnose Iago with one of
these theories and then interview him as to why he is acting out
against Othello. Students must use evidence to support their
interview. 200 – 300 words.

Role Playing Exercise.

Act 2 Scene 3 – Scene where Montano, Cassio and Rodrigo
Fight/brawl and Othello steps in and fires Cassio. Act 2, Scene
3, Line 122 - Line 165.
This exercise is based on the Theatre Of The Oppressed.
 There is a Bully/Instigator/Villain. – Iago
 Someone who is the victim/oppressed – Cassio.

Lesson 4
Outcome 4
Effectively transfers knowledge, skills and
understanding of language concepts into new and
different contexts. (English Syllabus k-10, 2012,
p. 147).
Content Point
Apply existing knowledge, skills and
understanding about language to access and
express increasingly complex information and
ideas for new purposes, audiences and contexts.
(English Syllabus k-10, 2012, p. 147).
 Onlookers/neutral people – Montanno, Rodrigo and
Othello.
Here students will act out this scene straight from the play.
They will then act out it out a second time with the intent on
liberating Cassio and exposing Iago. However, the students
must abide to the rules of the play. They cannot just say, “Iago
is trying to frame you!” Students must tease out and use
evidence from the play and act is if they are characters in the
play.
Students do not have to speak in Shakespeare’s language to
do the tasks within the lesson.
Act 3
This lesson will be an in depth focus on Act 3. Teacher and
students should summarise the plot of this act.
 A focus question should be, How does Iago manipulate
Othello?
 He Plays the ‘I don’t know’ card. Iago comes across as
vague and innocent which plants the seeds of doubt in
Othello’s mind.
This is explored in Act 3 Scene 3, Line 90 – Act 3 Scene 3,
Line 160.
 By withdrawing information Iago is letting Othello
assume the worst.
 Act 3, Scene 3, Line 262. This is a soliloquy from
Othello demonstrating his hubris. That being he is too
trustworthy of people. He is insecure of his age and the
colour of his skin.
 Othello might be insecure of his relationship with
Desdemona because they married in secrecy and
Othello might have adopted the ‘If she can do it with
me, she could do it to me’ principal.
 Iago and Othello have shared a close relationship on
and off the battlefield. Othello would trust Iago over
Desdemona.
  Act 3, Scene 3, Line 353. Here we being to see the fall
of Othello. His language becomes obscener.
The Dr Phil and Othello Interview – Students are going to
work in groups and film and/or act out Doctor Phil style
interview.
Students are going to write an interview with characters of Dr.
Phil and Othello at the end of Act 3. With a prompt question, Is
Othello insecure about the relationship with Desdemona? Or, is
Othello insecure of himself?
A What if Scenario – Emilia Narrative
Act 3, Scene 4, Line 30 - This is an interesting scene as Othello
demands the handkerchief from Desdemona. She does not
have it. However, Emilia had possession of the Handkerchief in
the previous scene Act 3 Scene 3 Line 297. As a creative
writing task, students will write a narrative on a ‘what if
Scenario’ had Emilia told Othello she had given the
Handkerchief to Iago. 200 words.
Lesson 5 Act 4
Teacher and students should summarise the plot of act 4. This
lesson will focus on how the characters have changed from Act
Outcome 4 1 to Act 4.
Content point Character Profiles
Attached to the unit of work are character profiles.
Locate, select, synthesise and creatively use  Have these characters changed throughout the play?
information, ideas and arguments from texts to  Othello – Has become cruder in his choice of language,
compose new texts. (English Syllabus k-10, 2012, not as confident, insecure.
p. 148). He even passes out from anxiety Act 4, Scene 1, Line 40 – 42.
 Desdemona – Despite receiving abuse from Othello
she remains loyal to Othello. In a discussion about
Othello’s behaviour with Iago and Emilia she states,
“If any such there be, heaven pardon him” (Act 4 Scene 2, Line
142).
 Iago – still the same character however, the events of
his plan are in motion.
Gender study on Adultery – Speech

Lesson 6
Outcome 4
Content point
Appreciate and value the ways language concepts,
ideas and information can be shaped and
transformed for new and different contexts.
(English Syllabus k-10, 2012, p. 147).
In a discussion between Desdemona and Emilia staring from
Act 4 Scene 3 Line 79. There is a discussion on adultery and
how women are vilified for committing adultery. Do you agree
with the statements from Emilia?
Have students write a 2-minute-long speech with intro
argument and conclusion. Have students present their speech.
What if? Acting Scenarios.
Act 4 Scene 1 Line 89 – Line 153
This is the scene after Othello falls into a trance and Cassio and
Bianca enter to talk to Iago. Othello regains consciousness and
hides from sight. What would happen if Othello jumped out?
Students should act out this scene but as the characters would.
Use evidence to support this.
Act 4 Scene 1 Line 206 – 256.
This is the scene where Othello hits Desdemona in front of
Lodovico.
 The oppressor/bully/antagonist – Othello
 The Oppressed/victim – Desdemona
 The Neutral/onlookers – Lodovico
As a group of students must protect Desdemona.
For these exercises, students do not have to speak in
‘Shakespeare’
Act 5
This lesson should summarise the plot points of this act. This
lesson should focus on the characters final moments and what
the final lines reveal about each character.
 Iago does not reveal why instead has deceived Othello
“Demand me nothing. What you know, you know. From this
time forth I never will speak a word” (Act 5, Scene 2, Line
316).
 Desdemona takes the blame. When Emilia asks
Desdemona who has wounded you, she states,

Lesson 7
Outcome 4
Content Point
Use prediction, speculation, hypothesis and
paraphrasing as strategies for assessing complex
types of texts with unfamiliar ideas or structures.
(English Syllabus k-10, 2012, p. 147).
“Nobody. I myself. Farewell. Commend me to my kind lord”
(Act 5, Scene 2, Line 138).
 Othello in his final moments accepts that he was an
envious and paranoid lover.
“Speak of me as I am … of one that loved not wisely but too
well. Of one not easily jealous, but being wrought” (Act 5,
Scene 2, Line 358).
Letter Writing
At the end of the play Cassio becomes the Governor. As the
Character of Cassio, you will write a letter to Brabantio
(Desdemona’s father) detailing the death of his daughter and
Othello. Student’s should also include some points on what
happens now Cassio is Governor.
Comic Book
Students will turn Act 5 into a comic book. The students must
think of visual techniques they can use to convey ideas of
tragedy, secrecy and dread. 20 – 25 images
Comic book template attached to unit of work.
Character study of women.
This lesson will focus on the characters of Desdemona and
Emelie.
Extended Response question.
 Throughout the play Desdemona demonstrates that she
is a strong individual. Despite being accused and
assaulted by Othello, she remains loyal to Othello.
Even at the very end of the play she takes on Othello’s
burdens. She is willing to sacrifice herself for her love
of Othello. Emilia asks Desdemona who has hurt you,
Desdemona replies,
“Nobody. I myself. Farewell. Commend me to my kind lord”
(Act 5, Scene 2, Line 138).
 Or, Desdemona is so blinded by love and/or the idea of
being in love that this is willing to die for Othello. This
is a sign of weakness.

Lesson 8
Outcome 5
Thinks imaginatively, creatively, interpretively
and critically about information and increasingly
complex ideas and arguments to respond to and
compose texts in a range of contexts. (English
Syllabus k-10, 2012, p. 149).
Content Point
For the Students,
Which of these statements regarding Desdemona do you agree
with? Use evidence to support your argument. 200 – 300
words.
Character Study of Emilia
So far, we have tried to accumulate reasons why Iago deceives
everyone. However, in one line from Emilia it could be argued
that she may have had an affair.
Act 4 Scene 3 Line 70 – 72.
“Why, who would not make her husband a cuckhold to make
him a monarch? I should venture purgatory for’t”
 Emilia is essentially saying ‘Who wouldn’t cheat on
her husband to make him king? I’d risk my soul for
that.’
Creative writing task
Write a collection of diary entries as the character of Emilia.
One being a diary entry involving Emilia having the affair
(does not have to be Othello) OR not having the affair. (The
student has to make a judgment for themselves)
One describing the relationship between her and Iago and how
the relationship changed after alleged affair. One after Emilie’s
discussion with Desdemona.
Visual appropriations of Othello Kenneth Brannith
 Just because the director has been asked to remake
Othello for film. Does not mean it is a faithful
adaptation. Instead, it is the director’s interpretation.
Attached to this unit of work are YouTube clips.
 I hate the Moore speech, Act 1 Scene 3 Line 377
Ian Mckellen version- 04:55
https://www.youtube.com/watch?v=lUBc8ydhbSM
 Words to describe this interpretation; Intense, talks to
the audience, gives of this impression that he hasn’t
quite thought through his plan.
Bob Hoskins version 00:15
Evaluate the ways inference, point of view,
figurative language and alternative readings can
be used creatively as strategies for responding to
and composing spoken, written, visual,
multimodal and digital texts beyond the literal
level. (English Syllabus k-10, 2012, p. 150).
Lesson 9
Outcome 5
Content Points
Respond to and compose a range of sustained
imaginative, informative and persuasive texts
which are increasingly demanding in terms of
ideas, arguments and linguistic, structural,
cognitive, emotional and moral complexity.
(English Syllabus k-10, 2012, p. 150).
https://www.youtube.com/watch?v=t9-VolqfNPk
 Points to consider; Maniacal laugh, reserved
performance.
Kenneth Branagh 00:00
https://www.youtube.com/watch?v=3zbGMcsCtjg
 Points to consider; Changes his face and tonality when
talking to the audience. Zooms in and creates suspense.
Uses the chess pieces as a metaphor.
Death of Desdemona scene
Orson Wells version
 Darker, colder. Othello in this version has made up his
mind
https://www.youtube.com/watch?v=A5nfj6DfwCs
Kenneth Branagh version
 Softer. Othello is warmer and compassionate
https://www.youtube.com/watch?v=uo5QrSsH618&t=144s
Extended Writing response
Compare and contrast how these two scenes use film
conventions to explore their intended message?
Group Film and/or acting project
Have the students find another scene within the play and have
them act and film it. Have students consider film techniques as
a method of expression. Have students write a rationale on why
they have used film techniques to explore the themes within the
scene.
Language conventions of Shakespeare
Desdemona Love Letters
Creative writing task – Why did Desdemona fall in love with
Othello?
Students will write two letters as the character Desdemona
messaging Othello. The letters will detail her infatuation of
Othello and why she agrees to marry him. Students should
write the letters in their own style then convert to
Shakespearean language. Examples of the language Othello
and Desdemona use when they are in love.

Lesson 10
Outcome 4
Content Point
Recognise different uses of visual texts, media
and multimedia, including the internet, eg
browsing the web to locate information, using the
internet to communicate socially or
professionally, watching a documentary to gain
knowledge and/or pleasure. (English Syllabus k-
10, 2012, p. ??).
Act 2 Scene 1 Line 187
Act 1 Scene 3 Line 248
Groupwork: Dr Phil Intervention for Iago and Emilia
Students are to film and/or act out a couple’s intervention for
Iago and Emilia in the style of an episode of Dr Phil. The intent
is to help the relationship between Iago and Emilia. Students
should deconstruct the characters motives and provide
strategies to help amend the marriage.
Pathological Jealousy/Othello Syndrome
Have students watch an excerpt from this documentary 09:00 -
end.
https://www.youtube.com/watch?v=vhvJzDLCuK4
Web Article
https://www.dailymail.co.uk/femail/article-2507072/Paranoid-
woman-Debbi-Wood-suffering-Othello-Syndrome-forces-
fianc-lie-detector-test.html
This is an example Pathological Jealousy and/or Othello
syndrome. As a research task, have students go online and look
for some of the symptoms of pathological Jealousy.
Exploring race in Othello
Throughout the text Othello is referred to as the Moore. He is
often the victim of racism and seen as an outcast to characters
like Brabantio. Have students conduct their own research into
the African slave trade in Europe. Have students work through
Act 1 and identify racist terms that are used against Othello.
Writing Response
Could we see Othello as a victim of Pathological Jealousy? Use
the research from the research task to support this idea. Do we
sympathise with Othello when looking at the character through
the lens of race? Or do are we unsympathetic towards the
character.
Lesson 11
Outcome 4
Content Point
Creatively adapt texts into different forms,
structures, modes and media for different
purposes, audiences and contexts and explain the
differences emerging as a result of such
adaptations. (English Syllabus k-10, 2012, p.
147).
Exploring the texts use of Imagery and Symbolism
This lesson will be dedicated to the use of images and symbols
within Othello. A portion of the lesson should be dedicated to
what images/symbols are used? As well as why Shakespeare
has used these images?
Some images include:
 Beast/ Animal Imagery
Iago uses beast imagery throughout the play.
Act 1, Scene 1, Line 90, “Even now, now, very now, an old
black ram is tupping your white ewe.”
Act 3, Scene 3, line 411, “Were they as prime as goats, as hot
as monkeys, as salt as wolves in pride”
Othello begins to use animal imagery towards the end of the
play. Act 4 Scene 1, Line 239, “Each drop she falls would
prove a crocodile. Out of my Sight.”
 Iago uses imagery as a tool to strip Othello of his
humanity. Animals/beasts are second to human and
therefore something Iago can control.
 The candle
The candle is used to represent Desdemona’s life. Act 5 Scene
2 Line 7, “Put out the light, and then put out the light.”
 The handkerchief
A symbol of fidelity Act 3, Scene 4, Line 58, “but if she lost it
Or made a gift of it, … Should hold her loathed and his spirits
should hunt”
 Location Venice and Cyprus
The setting of Othello is Cyprus and Venice. Cyprus during
this time would have been just beyond Christian territory and
therefore a more barbarous world, compared to that of Venice.
The rising action and fall of Othello begin in Cyprus.
Short Story Writing Exercise
Students will pick and image or symbol within Othello and
write a short story for a contemporary audience using the same

Lesson 12
Outcome 5
Content Point
Create literary texts that reflect an emerging sense
of personal style and evaluate the effectiveness of
these texts (English Syllabus k-10, 2012, p. 149).
image and/or symbol (Students can use more than one). 300 –
400 words.
Students should include self-reflection as to how this text has
used the image/images for a new audience.
Themes of Othello
A portion of this lesson should be dedicated to unlocking the
themes of Othello. These include:
Deception
This is explored in the first line of the play
“Tush! Never tell me” (Act 1, Scene 1, Line 1).
This is further reinforced with Othello and Desdemona’s secret
wedding.
Iago acts out his plan in secret.
Jealousy
The characters of Othello and Iago are motivated by Jealousy.
Love vs Militarism
Othello is an accomplished military general. When matters of
conflict arise between him and Brabantio, he acts in a calm
matter. Act 1, Scene 2, Line 85, “Good signior, you shall more
command with years than with your weapons.”
However, Othello’s ability to act rationally is compromised
when matters of the heart arise.
“I had been happy if the general camp, Pioneers and all, had
tasted her sweet body” (Act 3, Scene 3, Line 353).
His way of neutralising conflict is through murder a military
tactic.
Creative writing task
Write a short Play
Students are going to pick a theme and write a play.
Students are more than welcome to expand on or continue
their short story from the previous lesson.
Peer marking and reflection of each other’s plays.
Lesson 13 Graphic Depictions of Othello
Attached to this unit of work is a worksheet with questions
Outcome 5 involving the promotional images of Othello.
Content Point
Respond to and compose texts that use inference
and figurative language, eg symbolism and
allusion, in complex and subtle ways (English
Syllabus k-10, 2012, p. 150).
 Promotional marketing activity
Students will make their own poster with the intent of using the
themes of Othello to promote the play.
Have students design a pamphlet with a blurb promoting the
play.
Lesson 14 Analysing the language used in Shakespeare
Students will take the conversation between Iago and Othello
Outcome 5 in Act 3, Scene 3, Line 33 (This is the scene where Iago begins
Content Point to plant the seeds of doubt in Othello’s mind).
Explain the ways language of argument and Step 1
persuasion can be adapted for different contexts Have students convert the conversation into language they
(English Syllabus k-10, 2012, p. 150). understand.
Step 2
Convert it to modern emoji speak, in this style:
https://www.youtube.com/watch?v=PdUUxDnKlF8

Lesson 15
Outcome 5
Content Point
Understand and explain the ways in which
composers transform ideas and experience into
and within texts, including consideration of their
Reflection question
Does changing the language change the context and/or impact
of the scene.
Soliloquy
Write a soliloquy for the character of Cassio. Does not have to
be bound to a scene. Some suggestions:
 After Cassio gets fired by Othello
 At the end of the play when he gets appointed
governor.
Students are going to write in modern speech and then convert
the soliloquy into Shakespeare’s language.
Shakespeare for a contemporary audience
How do traits of Iago transfer into modern movie villains?
Batman vs Superman (2016) – Lex Luther. This movie scene
explores how Luther uses manipulation as a tool to overpower
his enemy. 02:30
https://www.youtube.com/watch?v=_uXzw-7Kb_g
Baron Zemo – Captain America: Civil War this character is
fuel by hate and uses manipulation to destroy The Avengers.
insight, imaginative powers and ingenuity https://www.youtube.com/watch?v=zDE3PEn9P2c
(English Syllabus k-10, 2012, p. 150). The Emperor – Star Wars this is an example of a character with
motiveless malignancy ‘Evil for the sake of evil.’
https://www.youtube.com/watch?v=ZuPe-ly0BHM

Student’s should think of their own examples of villain’s and

try to justify how traits of Iago can be seen in them (Does not
have to be film, it can be books, comics etc).
Soliloquy vs Slam Poetry.
Soliloquy and Slam Poetry could be considered examples of
performance poetry.
Students are going to find a villain and make a slam poetry or a
soliloquy for them. Students are going to try and explain how
their character has incorporated traits of Iago. 2 Minutes long.
Lesson 16 The trial of Othello and Iago
In this lesson students will do a mock trail. One for the
Outcome 5 character of Othello and another for Iago. Hypothetically the
Content Point characters at the end of Act 5 the characters did not die instead,
Understand and use the language of argument, eg they have been put on trial.
the use of logic, evidence, refutation, ellipsis, For this class you will assign students roles. (Roles can be
irrelevance and circumlocution, and analyse how alternated throughout the lesson). Prompt questions for the
it affects responses (English Syllabus k-10, 2012, court case include:
p. 149). Is Othello guilty of murder?
Should Iago be considered guilty of entrapment?
 Give students the role of Othello and Iago.
 Give students the role of witnesses, Emilia, Cassio,
Lodovico.
 Give students the role of jury
 Give students the role of judge
 Give students the role of lawyers.
Students must use evidence from the text.
Extended response
Do you find the character of Othello guilty? What evidence
supports your view?
Lesson 17 Reflection on the unit

Outcome 9
Purposefully reflects on, assesses and adapts their
individual and collaborative skills with increasing
independence and effectiveness (English Syllabus
k-10, 2012, p. 157).
Content Point
Articulate and discuss the pleasures and
difficulties, successes and challenges experienced
in investigation, problem solving and independent
and collaborative work, and establish improved
practices (English Syllabus k-10, 2012, p. 157).
Journal Reflection exercises.
Here are some questions to ask students.
How have the themes/ideas and characters in Othello impacted
your understanding of the world?
What where some of the difficulties when studying Othello?
How did you overcome these difficulties?
How has/ has this this unit improved your writing
techniques/literary analysis?
What did you enjoy about the unit and why?
Act 1 Character Profiles (Lesson 1)
Iago

Who is this character (profession, friendship)?

What are his strengths?

What are his weaknesses?

What motivates this character within Act 1?

What evidence (from Act 1) supports your understanding of the characters motivations in Act 1?
Othello

Who is this character (profession, friendship)?

What are his strengths?

What are his weaknesses?

What motivates this character within Act 1?

What evidence (from Act 1) supports your understanding of the characters motivations in Act 1?
Desdemona

Who is this character (profession, friendship)?

What are her strengths?

What are her weaknesses?

What motivates this character within Act 1?

What evidence (from Act 1) supports your understanding of the characters motivations in Act 1?
Roderigo

Who is this character (profession, friendship)?

What are his strengths?

What are his weaknesses?

What motivates this character within Act 1?

What evidence (from Act 1) supports your understanding of the characters motivations in Act 1?
Lesson 5 Changing characters
Iago

Name 3 significant that involve this character throughout the play.

Is this character stronger or weaker in Act 4?

What motivates this character within Act 4?

How has/ or has this character changed between Act 1 and Act 4?

What evidence supports this?

Othello
Name 3 significant events that involve this character throughout the play.

Is this character stronger or weaker in Act 4?

What motivates this character within Act 4?

How has/ or has this character changed between Act 1 and Act 4?

What evidence supports this?

Desdemona
Name 3 significant events that involve this character throughout the play.

Is this character stronger or weaker in Act 4?

What motivates this character within Act 4?

How has/ or has this character changed between Act 1 and Act 4?

What evidence supports this?

Cassio
Name 3 significant events that involve this character throughout the play.

Is this character stronger or weaker in Act 4?

What motivates this character within Act 4?

How has/ or has this character changed between Act 1 and Act 4?

What evidence supports this?

Lesson 13

How have these images used themes from Othello to promote the play? In your answer
refer to symbols and allusion.
How have these images used themes from Othello to promote the play? In your answer refer to symbols and allusion.
Comic book TemplateC
Comic book template.