Matching the Moor with the Maestro: Adaptations and Stage Productions of Othello in Thailand
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The paper discusses the cultural contexts of two adaptations of Othello in Thailand. While Damkerng Thitapiyasak’s “otHELLO: A Match of Jealousy” places its story in a contemporary setting with the contention of Thai Premier League in the forefront, Somtow Sucharitkul directs and conducts Giuseppe Verdi’s Otello by integrating Phaya Rachawangsan, the 1913 adaptation of Othello by Vajiravudh (r.1910-1925). The opera juxtaposes the aurality of the Italian libretto with the visuality of Srivijayan costumes and sets. Arguably, both stage productions of Othello are cultural phenomena in which diverse articulations of the global culture in the local scene may be deployed to question the untainted authenticity of the local and to illuminate the constructedness of the distinction between the local and the global. Furthermore, a comparative study of the two productions accentuates the process of artistic and social positioning that in effect incurs different perceptions of the play—high culture or pop culture—among the audience who are consumers of cultural products.
Abstract
The paper discusses the cultural contexts of two adaptations of Othello in Thailand. While Damkerng Thitapiyasak’s “otHELLO: A Match of Jealousy” places its story in a contemporary setting with the contention of Thai Premier League in the forefront, Somtow Sucharitkul directs and conducts Giuseppe Verdi’s Otello by integrating Phaya Rachawangsan, the 1913 adaptation of Othello by Vajiravudh (r.1910-1925). The opera juxtaposes the aurality of the Italian libretto with the visuality of Srivijayan costumes and sets. Arguably, both stage productions of Othello are cultural phenomena in which diverse articulations of the global culture in the local scene may be deployed to question the untainted authenticity of the local and to illuminate the constructedness of the distinction between the local and the global. Furthermore, a comparative study of the two productions accentuates the process of artistic and social positioning that in effect incurs different perceptions of the play—high culture or pop culture—among the audience who are consumers of cultural products.
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