“Othello” puts us in a context of the military conquests and quickly expanding world empires along with the problems this new context brings. These new problems have developed into the great modern narratives that contemporary critical thought constantly returns to in order to rethink and deconstruct – the narratives of racial, gendered, national other. They largely create the modern world as the place of binary divisions and empower the modern empires to exclude, to underrepresent if not to massacre their others – the colonized, the oppressed, the exploited. If left unsolved, these problems can be perpetuated in the contemporary constellation of power that the political scientists call Empire, and lead to the future conundrums. This is what already happens now at the borders of the formerly dominant continent which now is often being transformed into the fortress where the guards differentiate the incoming flow of desperate human beings between the useful workforce and redundant human waste while seeking to isolate and exclude the latter. Such treatment persists in the modern cities where the global workforce is suffering from the social injustice. Such crisis cannot be solved in the currently existing terms. A new different language is needed in order to consider these contemporary tendencies, to hear the unheard voices and to try to build stronger ties with those in need. The arts and especially theatre can provide us – and them – with such language.
Shakespeare’s “Othello” is a play which shows and creates, sometimes violently, the whole world as the stage. Now this grand – and banal – idea can be understood differently: the global stage means that we cannot remain ignorant, that we cannot think in terms of national borders or global enclosures, we need to think critically and create new political terms for the relations that still have to be made, both artistically and politically.