OTHELLO – The Playwright’s Word:

One of the motives we wanted to explore in approaching the Othello drama was the extent to which the transformation of language and "translation" into contemporary speech affects Shakespeare's original manuscript, the issues he explores and problematizes. The language has become stripped-down, direct, and devoid of poeticism, except in Othello's case where his way of speaking is another distinction and detail that sets this character apart from the rest. Also, language is the subject of our research on another level:

The fact that Bosnian and Macedonian actors play in their mother tongues gives another dimension to the concept of playfulness with speech, their interrelationship, communication and understanding.

Iago in this play is not the embodiment of universal evil, but a man with weaknesses, who is unhappy and insecure and who may not even be aware that one trap and some wickedness which he makes out of revenge will trigger a chain of bloody, tragic events. In that sense, we did not want Othello himself to be exonerated from the blame and responsibility for the murder, nor to attribute his acts and conduct to the consequences of Jag's network of intrigues and lies. Through the story of jealousy and fear of infidelity the attitude towards women in today's traditional patriarchal society is also problematized.