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About this resource 2Blackeyed Theatre 3Mary Shelley 4Note from the writer 5-6 Story 7Plot synopsis 8Characters 9Casting 10Adaptationintheatreandfilm 11TheGothicNovel 12-13Science 14Faith 15Philosophy 16Feminism 17-18Puppetry 19-20Costume 21Set 22Watchingtheshow 23Postproduction 24 Crewbiographies 25-26
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Blackeyed Theatre LtdSouthHillPark,Ringmead,Bracknell,BerkshireRG127PA
www.blackeyedtheatre.co.uk
About this resourceThisresourceisdesignedtofullysupportourtouringproductionofMaryShelley’sFrankenstein, and provide you with additionalcreativeandcross-curricularactivitiestoenhanceyourvisittotheproduction.ItisdesignedforKeyStages3and4,butactivitiescanbeadaptedforotherages.
Theresourcecomprises3sections:
1 Pre-production Thisisthelargestsectionandcontainsnotesandactivitiestohelpyourgroupgettogripswiththeplaybefore theirvisit;tothinkaboutthestoryandthemesandtoconsidercontemporarydramaticinterpretations.This contentcovers5keyareas:
o Story o HistoricalContext o Characters o Themes o Productionnotes
Withinthesekeyareasyou’llfindusefulinformation,studentactivitiesandpracticaltasksthatyoucansetforyourgrouptodeveloptheirknowledge,skillsandattitudesabouteachtopicalongtheway.
2 Watchingtheshow Thissectioncontainsquestionsandactivitiesthatstudentscanengagewithduringtheirvisittoseethe production,tohelpmaximisetheirunderstandingandenjoyment.
3 Postproduction Thissectioncontainsguidanceforanevaluationsessionfollowingtheproduction,basedonyourstudents’ criticalappreciation.
Stretch
Theseboxescontainhigherlevelthinkingquestionstostretchandchallengeyourstudents.Thesecanbeturnedintostudentactivities,orusedforfurtherresearchandhomework.Theyencouragestudentstomakeconnectionsbetweenthehistoricalcontextofthetextandcontemporaryeventsandglobalissues.
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ThisresourcewaswrittenbyLizAllumanddesignedbyDanielleCorbishleywithcontributionsfromthecreativeteam.
Formoreinformationaboutthetour,oureducationpack,orBlackeyedTheatreingeneralplease email us at [email protected]
BlackeyedTheatreisoneoftheUK’sleadingmid-scaletouringtheatrecompanies.Since2004wehavebeencreatingexcitingopportunitiesforartistsandaudiencesbyproducingtheatrethat’saudacious,accessibleandmemorable.BlackeyedTheatrehastwoprincipalobjectivesthroughtheworkitproduces;toprovideaudiencesandartistswithfresh,challengingwork;andtomakethatworksustainablebyreachingaswideanddiverseanaudienceaspossible.Overthepastfewyears,BlackeyedTheatrehasbalancedtheseartisticandbusinessobjectivesbycreatingnew,excitingversionsofestablishedclassicsinuniquewaysandbyidentifyingarelevancewithtoday’saudiences.
Recentexamplesofthisincludethecompany’s2012productionofBrecht’sMotherCourageAndherChildren,whichtouredacrosstheUKfortenweeksandincludedanewlycommissionedmusicalscore.TheproductionsetBrecht’sstoryinapost-apocalypticworld,designedtoestablishrelevancewith21stcenturyworldevents.
In2013,thecompanycommissionedabrandnewstageadaptationofBramStoker’sDracula,whichincludedanewmusicalscoreandpresentedthestoryusingfiveactormusicians.Presentedinahighlytheatricalway,usingpopularformsofentertainmentandtechnologyemergingatthetimethenovelwaswrittenasstorytellingdevices,theproductionwasseenbyover10,000people.
In2014,Blackeyed’sproductionofNotAboutHeroesbyStephenMacDonaldtouredto45UKtheatres.Combiningnewlycommissionedmusicandprojection,thiswasahighlytheatrical,multi-sensoryproductionofanestablishedclassic.
OthertouringproductionsincludeTheGreatGatsby(adaptedbyStephenSharkey),TheTrial(StevenBerkoff),OhWhatALovelyWar(TheatreWorkshop),TheMadnessofGeorgeIII(AlanBennett),Alfie(BillNaughton),TheCherryOrchard(AntonChekhov),TheCaucasianChalkCircle(BertoltBrecht),theworldpremiereofOedipus(StevenBerkoff)andTheResistibleRiseofArturoUi(BertoltBrecht).
In2009BlackeyedTheatrebecameanassociatecompanyofSouthHillParkArtsCentre.In2011BlackeyedTheatrelauncheditsfirstnewwritingscheme,Pulse,withtheintentiontoprovideanewwriterwiththeopportunitytoseetheirworkproducedprofessionallyonstage.Thewinningplay,TheBeekeeper,wasperformedinitiallyatSouthHillParkinBracknellbeforetransferringtoWaterlooEastTheatreinLondonforathreeweekrun,whereitreceivedthreeOffWestEndTheatreAwardnominations.
Westrivetomakeourworksustainablebyproducingtheatrethataudienceswanttoseeinwaysthatchallengetheirexpectations,bybringingtogetherartistswithagenuinepassionfortheworktheyproduce,andthroughanapprecia-tionthattitlesofworkwithawideappealcanstillbeperformedinwaysthatpushartisticboundaries.Inshort,it’saboutfollowingaudiencesbutalsoleadingthem,beingaffordableandresponsivetodemandwhileinnovatingandchallengingexpectations.
Blackeyed Theatre
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Mary Wollstonecraft Shelley
WhilstPercy,MaryandherstepsisterClairewerespendingthesummerwiththepoetLordByroninGeneva, Frankensteinwaswritten.Theweatherwasbadandsothegroupspentmuchoftheirtimereadingandwritingtogether.TheyparticularlyenjoyedworkingtheirwaythroughFantasmagoriana,acollectionofGermanghoststories.
The story Mary composed, which later became Frankenstein,drewonrecentscientificprogressofthetimeandthewritingsofLuigiGalvani.Galvaniwasaphysicistwhohaddiscoveredthatmusclesinhumanandanimaltissueconductand react to electricity. Frankenstein or The Modern Prometheus waspublishedtwoyearslater,in1818.
PercyShelleydrownedinastormwhilstsailingnearItalyin1822.Marywasonly24andneverremarried.
Mary wrote many other books, as well as Frankenstein.Her1823novelValperga, was afictionalisedaccountofthe14thCenturydespotCastracani,whoforcesthewomanhelovestochoosebetweenloveandpoliticalfreedom. She chooses freedom. The Last Manwasanearlysciencefictionnovel,setinapost-apocalyticworld.Itreflectstheseveraldeathsshegrievedofliteraryfriends,andattacksthefailuresoftherevolutionarypoliticalideasofthetimetobringaboutrealchange.Shealsowrotemanytravelnovels,wasanaccomplishededitor,andwasinstrumentalineditingandpublishingmanyofthepublishedcollectionsofherhusband’swriting.
Marydiedin1851attheageof53,mostlikelyfromabraintumour,thathadgivenheryearsofheadachesandoccasional muscle paralysis.
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Marywasbornin1797.Herparents,WilliamGodwinandMaryWollstonecraftwerebothwriters.Herfatherwasfamousforhisrevolutionaryideasaboutpoliticsandsociety,andhermotherwasapioneerinfeministwriting.Thenewandradicalideasofherfather,motherandherfuturehusbandPercyShelley,alongwiththeeducationshereceivedandcontinuedthroughoutherlife would shape how she approached the world and her writ-ing.
Hermotherdiedjust10daysafterMarywasborn.Lifewasdifficultforherfatherwhowasoftenindebt,andMarydidnotgetonwellwithherstepmother,butformedaclosefriendshipwith her step-sister Claire Clairmont.
WhenMarywas17,sheranawaywithPercyShelley,afamous poet she had met two years before. He was married to a woman named Harriet, and Percy and Harriet had been friendsofMary’sfather.
MarygavebirthtoherandPercy’sfirstchild,butsadlythebabydiedtwoweekslater.Percy’swifeHarrietdrownedherselfin1816.PercyquicklymarriedMaryandtheyhadthreemorechildrentogether,butonlyonesurvived.Marysufferedalotoflossduringherlife,herhalfsisterFanny,threeofherchildren,her parents, her husband and friends.
MaryShelley’sportraitbyRichardRothwell,shownattheRoyalAcademyin1840
Note from the writer
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AdaptingFrankensteinforBlackeyedTheatre
Anystageadaptationofanovelshouldaimtocreateanessentiallytheatricalexperience.Inthiscase,morethan200pagesofprosefictionaretranslatedintotwohoursofliveperformance.Thereisnosuchthingasadefinitivestageversion,asanytreatmenthastotakeaccountofmanyelementsthatareparticulartoitsstaging:theresourcesavailable,thecircumstancesofperformance,andthevaluesandexpectationsofcompanyandaudiences.I’veworkedwithBlackeyedTheatrebefore(onDraculain2013)andI’mfamiliarwiththeirapproach:asmallcastofmulti-skilledperformersuseelementsofspokentext,music,soundandvisualstocreatepowerfulperformanceeventsthatcanbetouredtoawiderangeofvenues.SoI’vehadthecompanyverymuchinmindwhileworkingonthescript.
Sinceitsfirstpublicationin1818,Frankensteinhasinspiredmanystageadaptations.Asearlyas1823RichardBrinsleyPeakewroteaversioncalledcalledPresumption;or,TheFateofFrankenstein.Ittookgreatlibertieswiththenarrative,andmadetheactionandthecharacter-typesconformtothemelodramaticconventionsoftheday:Victorhadacomicassistant,calledFritz,ElizabethbecameVictor’ssisterandwaswooedbyHenryClerval.MaryShelley’sframingnarrativewithJamesWaltonwascutcompletely.TheCreature(namedtheMonsterinPeake’sversion)wasnotgivenanydialoguetospeak.Someofthestagingmusthavebeenspectacular:includingafinalsceneinwhichVictorandtheMonsterareannihilatedinanonstageavalanche,accompaniedbyloudthunderandaheavyfallofsnow.Thepopularityoftheshowinspiredthepublicationofasecondeditionofthenovel.ButthisversionforBlackeyedTheatreusesaverydifferentapproach.
Werespectthenovel’smulti-layeredwayoftellingthestory.FrankensteiniscarefullyconstructedlikeasetofRussiandolls:ithasastorywithinastorywithinastory.AtthecoreofthebookistheCreature’saccountoftheexperiencesthathaveformedhim,andweincludeit,toldintheCreature’sownwords.OnestrengthofthenovelisthewayMaryShelleyusesherstorytoexplorecomplexethicalissues.TheCreature’svoiceiscrucialtothis.
TheouterframeoftheWaltonnarrativeisalsoretained,notjusttoprovideuswithdistancefromtheincrediblestoryVictorhastotell,buttorealiseShelley’sastonishinginsightsintothepsychologyofmenwhopushthemselves(andothers)tothelimitsinordertomakenewdiscoveries.Waltoncontainstheseedsofmoretragedy,andwewatchhimrespondingtoVictor’stale.AtthepointwhenWaltonandVictormeet,neitherman’sstoryiscomplete.Sothereistensioninobservingthefatesofthesetwodrivenmen.WilltheylearnfromVictor’sexperiences,andifso,what?Forus,thathasbecomethefocusingspineoftheaction.
Inmyviewthebookhasweaknesses,andasplaywrightitismytaskiseithertominimisethese,orusethemcreatively.Surprisinglyperhaps,giventheradicalhouseholdinwhichShelleygrewup,thenovel’sfemalecharacterscanseemwoefullyconventionalandflat,verymuchtheretofunctionasfoilsforthemorefullyrealisedmen.ItisparticularlyimportantthatwecometovalueElizabethinherownright,sothatherfatereallyengagesus.Ihavegivenhermoresubstanceandagencyasacharacter,whilerespectingthesocialnormsofperiodandplace.Therearealsoanumberofimprobabilitiesintheplot-forexample,howisVictorabletoaccessthemanybodypartsneededforthesecondCreaturewhileworkingonacompletelyisolatedScottishisland?Inthiscase,thehowoftheprocessisfarlessimportantthantheconsequencesofVictor’sactionswhenthebodyiscompleted,andwehavefocusedtheactionaccordingly.
Incompressingtheactionforatwo-hourperformance,ithasbeennecessarytoremovecharactersandwholeepisodes.Theguidingprinciplesherehavebeentoworknotjustwiththethree-dimensionalstorytellingoutlinedabove,buttoengagewiththenovel’sunderlyinggenreandstorystructure.Atheart,Frankensteinisatragedy,thatofanover-reacherwhocomestogrief-likeDoctorFaustusinChristopherMarlowe’splayofthatname.Italsodevelopsintoanexcitingtaleofrevenge,withbothVictorandtheCreatureseekingtoavengepersonalwrongs.
ThisversionisalsoinspiredbyShelley’skeeninterestinsomeofthemostadvancedscientificthinkingofherday,inparticularGalvanism,andHumphryDavy’sworkonthecreativepotentialofElectricity.Shewaslivingthroughatimeinwhichthepaceofscientificdiscoverywasrapid,andScienceseemedabletoempowerMankindinalmostsuperhumanways.Wealsodrawonherromanticinterestinthesublimeas mademanifestinwildandchallenginglandscapes:muchoftheactiontakesplaceinexcitingAlpineandArcticsettings.Thereisalsoastrongliterarybackground,forexampletheexplicitparallelsmadewithJohnMilton’sParadiseLost-weretainthesebutinalimitedway,concernedthatthesemightconfuseratherthanenrichtheactionforaudiencesunfamiliarwithMilton’spoem.
Peakesoughttoinspirewonderinhisaudiencebytherealisticstagingofdramaticnaturalevents.Todayfilmandtel-evisionarebetterequippedtoprovidespectacleofthatkind.Soweuselanguage,visualsandsound(includingpuppetry)inmoresuggestiveways,aimingtoengagetheimaginationoftheaudience-andhopefullycreatingauniqueenergyandrapportateachperformance.
Therefore,theprimeaimistocreateacompellingtheatricalevent,butthisversionalsoseekstoprovokethoughtanddiscussionaroundmanykeyissuesthathaverenewedsignificanceforustoday:forexample,theethicsofgeneticexperimentation,andthecausesofviolentbehaviourinsomemarginalisedsocialgroups.Whenitwasfirstpublished,Shelley’snovelattractedmanyhostilereviews,becauseitengagesdirectlywiththemesthatwereconsideredtaboo.Isitsmaterialinanywaytabootoday?Whatisnotindoubtisthecomplexityofthedebateshewishesthereadertoengageinaboutthethemesofthenovel.Workingonthishasleftmefullofadmirationfortheachievementofthenineteen-year-oldnovicewriter,whorespondedtothechallengeofinventingaghoststory‘tocurdletheblood,andquickenthebeatingsoftheheart’bywritingabookthatisstillwidelyread,andwhichhasinspiredinnumerableadaptationsforscreenandstage.
JohnGinmanApril2016
IllustrationforCornhillPublishingCompany,1922editionofFrankenstein
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FrankensteinwasthefirststoryMaryWollstonecraftShelleyeverwrote.Theoriginalversionwaspublishedin1818,andwasrapidlyreimaginedasastageplaythatwashugelypopular.Manyothertheatricaladaptationsfollowed.Thefirsteditionofthebookwaspublishedanonymously.Sometimeswomenneededtodothistocounternegativereactionsfromthemaledominatedpublishingindustry.Writingasaprofessionwasveryuncommonforwomenatthistime.Asecondedition,publishedinParisin1823,didciteMaryastheauthor.
Afurthereditionin1831,sawMarymakesignificantchanges,inparticulartoningdowntheinsinuationofsomethingcontroversialintheloveaffairbetweenVictorandhisadoptedsister.Shealsochangedtheframenarrative;theoriginalwasstructuredinto3sections,butthenewerversionflowsthrough,chapterafterchapter.
TheoriginalversionhadanextractfromMilton’sepicpoemParadise Lost, atitsstart:Did I request thee, Maker, from my clayTo mould me man? Did I solicit theeFrom darkness to promote me?ThisepigraphreflectstheimplicitquestioningofreligionandChristianityinherdarkandcomplexethicalstory.Thiswasremovedinlatereditions,perhapsduetofearsofupsettingtheChurch.
Intheprefacetothe1831edition,Marytalksofherwritingprocess,alludingtoitssimilaritieswithscientific‘creation’,andofVictorFrankenstein’sactions.Shewrites‘Invention, it must be humbly admitted, does not consist in creating out of void, but out of chaos’.Thisfollowingstatementshedssomelightonhowsheworkedasawriter,drawingexistingideastogethertomakeastory.Herideasdonotcomeoutofnowhere,andthisperhapsreflectsherlatersuccesssasaneditorofothers’writing,herabilitytoreworkandimproveexistingmaterial.Shealsowrites‘Invention consists in the capacity of seizing on the capabilities of a subject, and in the power of moulding and fashioning ideas suggested to it’.
Story
Canyouthinkofastoryorfilmthathasaframenarrativewithinit?Howdoesthisstructureaffectthewaythestoryistold?Canyouthinkofastoryorfilmscriptwheremultipleperspectivesaretold?WhydoyouthinkMaryShelleychangedaspectsofthestorybetweeneditions?Whatimpactmightthishavehad?Comparethetwoeditionsandconsidertheimpactofeachversionofthenarrative.
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Epistolary novel
ThewordepistlecomesfromtheGreek,meaningletter.Anepistolarynovelisastoryrepresentedthroughacollectionofdifferentdocuments.Theycantaketheformofletters,diaryorlogbookentries,newspaperarticles,medicalreportsandotherdocuments.Thisstyleofwritingcan,likedocumentaryfilmmaking,provideamuchgreatersense of realism, and when applied to a horror story such as Frankenstein,addstoitspotency.Italso enables the reader to see inside the characters’innerthoughts,withouttheneedforathirdpartynarrativevoice.
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Thiswritingtechniquesetsoneormorestorieswithinanother,usinganintroductorysceneandcharactersto‘frame’theleadstory.Ithelpstocreatecontextandatmosphereforthemainstory,andprovidesotherpointsofview,additionalvoices.Itoftenmakesforaricherandmorecomplexstory,andgivesthereaderlayersofmeaningtoexplore.Frankenstein is a story within a storywithinastory.WebeginwithCaptainWalton,writingtohisdaughter.Inhisletters,heretellsVictorFrankenstein’sstory.WithinVictor’sstory,weheartheretellingoftheCreature’sstory,andthenwereturntoWaltonagainattheend.
Frame Narrative
Frankenstein or The Modern Prometheus plot synopsis
RobertWalton,anEnglishcaptain,whoseboatistrappedinicenorthofRussia,discoversamysteriousman,travellingacrossthesnowytundraoftheNorthPoleonadog-pulledsledge.Inletterstohissister,Waltonretellsthestoryofthisman,VictorFrankenstein.VictorFrankensteinshareshislifestorywithWalton,hischildhoodinGeneva,hisloveforhisadoptedsisterElizabeth,and his friendship with Henry Clerval. InhischildhoodVictorwasagreatreaderandwasfascinatedwiththesupernaturalandoccultwriters,whilsthisadoptedsisterandfriendareinterestedinpoetryandromanticwriting.Hismotherdies,andhetravelstoUniversityinIngolstadtwhereheredirectshisattentionstotheteachingsofrationalscience,chemistry,biologyandthestudyofelectricity.Mergingthetwoareasofstudy,thatmostwouldperceivetobeinconflict,hediscoversthesecretoflife.Byrobbinggraves,hecollectsthebodypartsheneedstocreateananatomicallycompletehuman,anduseselectricitytogiveitlife.TheCreaturecomesalive,butishorribletolookat,itsfleshbarelycoveringitsmusclesandbones.Victorishorrifiedandabandonshiscreation.TheCreaturedisappears,FrankensteinbecomesillandClerval,whohascometovisit,caresforhimbeforeVictorsetsouttofindthemonster.VictorlearnsofthedeathofhisbrotherWilliam,whowasstrangled.AfamilyservantisaccusedofthemurderbutVictor,seeingtheCreatureinthesamecity,believesotherwise.Theservant,Justine,isconvictedandexecutedforthemurder,Victorsaysnothingbutfeelsimmenseguilt.AsFrankensteintravelsonMontBlanc,hefindstheCreaturewhotellshimhisownstory,learninglanguageandhumanbehaviourfromsecretlywatchingafamily,readingandstudyingliteratureandpoetry.Hetalksofreactionsofterroranddisgustfromthosethatheencounters.Heiscalled‘monster’andchasedawayandbeaten.TheCreatureislonelyandangryanddemandsthatVictormakehimafemalecompanion.VictoragreesontheconditionthattheCreatureneverreturntoEurope.Whilstmakingthecompanion,VictorbeginstopreparetomarryElizabeth,butisconsciousofthejealousythattheCreaturewillfeel,soendeavourstocompletethefemalefirst.Torturedbyideasofthetwocreaturesbreedingandbecomingathreattosociety,hedestroyswhatisworkingon.TheCreature,witnessingthis,threatensVictorandsoonafter,HenryClerval’sbodyisfound.Victorisaccusedofthemurderbutlaterclearedofthecharges.DespitetheCreature’sthreat,VictordecidestomarryElizabeth,butsheismurderedontheirweddingnight.FrankensteinsetsouttotrackandkilltheCreature,andendsupfollowinghimacrosstheNorthPole.Atthispointweareuptothepresenttime,andWalton’sletterstohissistertalkoftheotherproblemsoftheirboatandtheirjourney.TheboatcrewplantoreturntoEngland,butFrankensteinrefusestoabandonhissearchfortheCreature. Frankenstein’shealthfailsandhedies.ShortlyafterwardstheCreatureisfoundinVictor’sroom,hegivesaspeechoverthebody,grievingthelossofhischanceforpeaceandcompanionship,andpromisestoburnhimselftodeathintheNorthPole,leapsoutofthewindowanddisappearsintothenight.
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WhydoesVictornevernamehiscreation?Whatdoesthistellusabouttheirrelationshipandtheidentityofthecreature?
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Characters VictorFrankenstein Thescientistandscholarwho,discoveringthesecretoflife,createsa‘creature’capableoflearning,lovingandkilling.Victor,disgustedbyandashamedofhiscreation,abandonsit,andthenfindstheCreaturewon’tleavehimalone.
The Creature Madefrompartsofcorpsescollectedfromgraves,thisintelligentandsensitivecreationisbroughttolifeandrejectedbyVictor.Heseeksrevengeagainsthiscreator.
RobertWaltonAsailorwhoseboathitsiceintheArctic,wherehemeetsVictor,pursuingthecreature.Walton’sletterstohissisterbeginandendthestory.
AlphonseFrankenstein Victor’sfather,whooffersVictorcomfortandremindshimoftheimportanceoffamily.
ElizabethLavenzaAnorphanandVictor’sadoptedsister,whohelatermarries.SheistheclassicGothicnovelfemalecharacter,passiveandpatient,andultimatelythemonster’sfinalvictim.Inthe1818versionVictorandElizabetharecousins.
HenryClervalVictor’sclosefriend,whonurseshimbacktohealthandtowhomVictorconfesseshisterriblesecret.HenryismurderedbytheCreature,butVictorisaccusedofthecrime.
WilliamFrankensteinVictor’syoungestbrother.HeisstrangledbythemonsterasrevengeforVictorabandoninghim.VictorfeelsimmenseguiltforWilliam’sdeath.
JustineMoritzAfamilymaid,adoptedintothehouseholdbyVictor’sparents.SheisincorrectlyblamedforWilliam’smurderandexecuted,addingtoVictor’sguilt.
CarolineBeaufortCarolineistakeninbyAlphonseFrankenstein,wholatermarriesher.ShediesofscarletfeverjustbeforeVictorleavesforhisstudiesinIngolstadt.
BeaufortThefatherofCarolineandafriendofVictor’sfather.
DeLacey,Felix,AgathaandSafieAfamilyofpeasantsnearwhosehomethecreaturehides.Watchingthem,themonsterlearnshowtospeakandinter-act.Whentheyfinallydiscoverhim,theyareterrifiedandbeathim.
M.WaldmanandM.KempeVictor’steachersatUniversity,representingmodernscience.TheyinstallapassionforchemistryandphysicsintheyoungVictor.
Mr.Kirwin AmagistratewhofalselyaccusesVictorofHenryClerval’smurder.
Blackeyed’sproductionfocusesontheyoungercharactersinthenovel.(SeethenotefromwriterJohnGinman)
Occult
Theoccultmeansmystical,supernatural,ormagicalpowersorpractices.
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EarlyillustrationsofFrankenstein’smonsterImagefromTheBritishLibrary
Casting BlackeyedTheatreproductionsaredesignedtotourextensivelytotheatresacrosstheUK,soemploysmallcastsplayingmultipleroles.Frankensteinisperformedbyanensembleoffive(fourmen&onewoman)whodividetherolesbetween themselves.
Multiple roles
‘Multi-roling’isatheatricaldevicewherebyactorsplaymultiplepartswithinaproduction.Thistechniqueisfrequentlyusedtominimisethenumberofperformersneeded,andissometimesemployedtocommentonarelationshipbetweentwocharacters.
Somedirectorsusethetechniqueasachallengetotheactors,andtokeepperformancesfresh.IntherecentNationalTheatreproductionofFrankenstein directorDannyBoyle’stwoleadactors(BenedictCumberbatchandJonnyLeeMiller)swappedroleseachnight.TheyplayVictorandtheCreature,andthisdirectorialdecisionreflectstheintenserelationshipbetweenthetwocharacters,andthesuggestionthatthemonsterisapartofVictorandviceversa.Thiswillresultintheactorshavingadeeperunderstandingofthecharactertheyareplay-ingalongside.
TheCreatureisamulti-personpuppet, moved by three
performersatthesametime.Seethepageaboutpuppetry
tofindoutmore.
Look at each scene in the novel and the character list. Withonly5actorsonstage,seeifyouworkouthowyou can cover all the characters. How many roles will eachperformerneedtocover?Isthereacharacterwhoisineverysceneandcanonlybeplayedbyoneperson?Don’tforgetthattheCreatureneeds3peopleinorderto move.
Student activity
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Top:PlaybillforperformanceofPresumptions;orTheFateofFrankensteinatEnglishOpera
HouseJuly1823.
Bottom:BorisKarloffasFrankenstein’sMonsterinthe1931filmadaptation.
Adaptationsintheatreandfilm SinceFrankensteinwasfirstpublished,therehavebeenmorethan100adaptations,satires,reworkingsandproductionsfortvandfilm,andmanymoreonthestage.Frankenstein’sinitialsuccessasabookwashelpedbyverypopulartheatricaladaptations.Presumption;or,theFateofFrankensteinbyRichardBrinsleyPeakepremieredin1823andranfor37performances.Itwasadaptedasamelodrama,andwasnotconsidered‘traditional’theatreatthetime,alongwithotherinnovativeformssuchaspuppetry,burlesque,pantomimeandmusicals.Thiswasoftenwherethemostinterestingandcuttingedgetheatrewastakingplace.
MaryShelleyandherfathersawittogetheranditsparkedWilliamGodwin’sdecisiontohelpMaryprintasecondeditionofthebook.Intheadaptation,thecreature,whoisnevergivenanameinMary’sstory,islistedintheprogrammeas-------.Marylikedthisalot,asherlettertoafriendshows:
“But lo and behold! I found myself famous! – Frankenstein had prodigious success as a drama and was about to be repeated for the 23rd night at the English Opera House. The play bill amused me extremely, for in the list dramatic personae came –-- by Mr T Cook: this nameless mode of naming the unnameable is rather good. On Friday, August 29th Jane my father William and I went to the theatre to see it…. The story is not well managed – but Cooke played –-- ‘s part extremely well ...I was much amused, and it appeared to excite breathless eagerness in the audience.”
ExtractfromMaryShelley’sletterstoLeighHunt,August4th1823.
AtthesametimeHenryM.Milner’sFrankenstein,ortheDemonofSwitzerland,hadopenedattheCobourgTheatre.Bothadaptationschangedthestory,focussedondifferentelementsthanShelleyhad,andevenaddedwholenewcharacters,suchasFrankenstein’sassistantFritz.
AveryrecentstageadaptationbyNickDearpremieredattheNationalTheatrein2011,andwasdirectedbyDannyBoyle.ItdrewonallthedramaticpresenceandGothichorrorofthenovel.Youcanwatchadocumentaryaboutthemakingofthework,includinginterviewswiththedirector,writerandactors,here. https://www.youtube.com/watch?v=tkYgCZ0DWwc
InNickDear’sadaptation,theCreaturetakescentrestage,weseethestorythroughhiseyes,hissorrow,angeranddisappointment.
Thefirstcinematicversionappearedin1910.Itwasasilentfilmandhadremovedanythingthatthemakersconsideredmightshockanaudience.Sincethentherehavebeenahugenumberoffilmadaptations,eachtakingadifferentslantonthestory,humorous,frightening,focussingonthescience,thefaithaspectsorthepurehorror.
Watchafilmadaptationandcompareittothenovel.OnceyouhaveseenBlackeyedTheatre’sproductions,com-parethattothefilmaswell.Whatdifferencesdoyouseeandwhatdoyouthinkthereasonswereforthosediffer-entchoicesinadaptation.Whymightdifferentadaptationsatdifferenttimesinhistoryfocusondifferentaspectsofthestory?Whatdoesitsayaboutthenovelthattherearesomanyadaptations?AndwhatdoyouthinkMarymighthavethoughtofthem?FindthefullversionofMary’slettertoLeighHunt,whatelsedoesshesayabouttheadaptation?Writeyourownreviewofthefilmadaptationyouwatch,reflectingonstaging,performanceandadaptation,asMarydoesinherreview.
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The Gothic Novel
Sexual Power
FantasiesinGothicnovelsareoftenplayedoutthrough‘monsters’andwomensuccumbtopowerfulmen and physical lusts. Frankensteinexploresapos-siblyincestuousrelationship,astrangelovebetweentheCreatureandhismaster,andtheCreature’sownirrepressiblesexualdesire.Thereareinterestingparallelsbetweenthisandthesexual‘freedom’thatMaryandherfemalefriendswerebeginningtoexperienceatthetime.Althoughwhatmighthavefeltfree,beingabletohaveaffairsortoliveasasinglewomanforexample,would,inreality,leavewomendestituteandsociallyoutcast,withoutacomparable
impact on the men involved.
The supernatural
SupernaturalelementsarevitaltoaGothicnovel;ghosts,monsters,thedevil,andthebreakingoflawsofnature,toconfuseandfrightenthehumancharacters.
The uncanny
AFreudianterm,usedtoexplainthatstrange,uncomfortablefeelingaboutsomethingnotquitehuman.Itexplainswhyweoftenfeelfrightenedbydolls,masks or automatons.
The sublime
Expressesgreathumanemotion.Itoftenmarriesthatinliteraturewithstunninglandscapesorweather.Findingbeauty in unusual scenes is common in Gothic novels. Ratherthanportrayingbeautyinacalmpeacefulsunset,insteadcharactersfindthemselvesintheheartofastorm,orthemidstofaterrifyingforestatnight,situationsthatareoftenfrighteningoroverwhelming.
Gothicwritingcombinesbothromanceandhorrorandwashugelypopularthroughoutthelate1700sand1800s.IntheVictorianeraitshiftedformandwritersbecameincreasinglymorecreative.Withthesupernaturalandlovealwaysattheirheart,talesfromEdgarAllanPoe,OscarWildeandElizabethGaskellalldrewonthepublic’sinterestintheunexplainedandtheromanceofeternallove.Usinglandscape,dramaticweather,tragiceventsandtempestuousjourneys,lovestoriesandsupernaturalthrillerswerebroughttolife.Youcanstillseemanyofthesetechniquesinmodernwritingandfilms.
Gothicnovelsoftencentrearoundavastfrighteningbuildingorcastle,sweepingepic,remotelandscapesandvulnerablewomen,overcomebypowerfulsexualpredators,menormonsters.
Many Gothic novels draw on three key themes, the supernatural,theuncannyandthesublime:
Front Cover for The Modern Prometheus 1818(Lackington,Hughes,Harding,Mavor&Jones)
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Gothicwritingoftenappearsattimesofpolitical,religiousorsocialchangeinsociety,perhapsasawaytotryandexploretheupheaval,andtosafelyreflectontheethicaldiscussionstakingplace.
Thefirsttimetheword‘Gothic’wasusedasadescriptionforliteraturewasinHoraceWalpole’sstoryThe Castle of Otranto. He created anelaborate,fakebackstoryforhiswork,pretendingitwasanancientrelic,severalhundredyearsold.Gothicfictionoftendrawsonthepast,oldfashionedwaysoflivingincontrasttothemodernworldofthecharacters,orghostsorspiritsfromalongtimeago.BramStoker’sDraculaisagoodexampleofthis.
ThirtyyearslaterAnnRadcliffeusedthetermandthetechniquesinhernovel The Mysteries of Udolpho,whichfeaturedamysteriousancientItaliancastleandasinistervillain.Infact,allofRadcliffe’snovelsaresetinforeigncountries,oftenwithbroodinglandscapes,charactersandvastepicscenery.ThroughhercharactersshecombinedtheGothic,withtheRomantic.
A second wave of Gothic novels in the second and third decades of the 19thcenturyestablishednewconventions.Includingtheintroductionofa‘double’,adoppelganger,orshadowofyourselfthatfollowsyourelentlessly,ametaphorforconscience,ordeathorperhapsone’ssoul.
Character’sbeingpursuedbytheirdoublesoccursthroughoutGothicwrit-ing.ThemostfamousexampleisDrJekyllandMrHydebyRobertLouisStevenson.
‘Man is not truly one, but truly two’ Robert Louise Stevenson, Dr Jekyll and Mr Hyde
ReadBramStoker’sDracula andexplorethecontrastbetweentheoldfashionedlifeinDracula’scastle,withthebusymodernworldinLondon.Whatcommentistheauthormakinginthiscontrast?What parallels are there between Dracula and Frankenstein?
Stretch
YouTube
WatchthisusefulyoutubevideofromtheBritishLibrarywhichexplainsGothic themes and ideashttps://www.youtube.com/watch?v=gNohDegnaOQ#t=244
ImagesTop:FrontcoverofTheCastleofOtranto
and The Mysteries of Udolpho.Right:ImagefromthestageadaptationofGothic
novelStrangeCaseofDrJekyllandMrHydewhereRichardMansfieldplayeddualroles.(1895)
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Science
MaryShelleywaswritingintheveryearly1800s,onthecuspofgreatdiscoveriesandadvancesinscience,medicineandastronomy.Theseadvancesbegantoresolvepreviouslyunansweredquestionsandraisedmanymore.
The1700sand1800ssawrapidscientificprogress,thatrevolutionisedEuropeanlife.Sciencewasansweringmanyofthequestionsthatpeoplehadbelievedtoonlybeexplainablebydivinepowerandmiraclesandthereforethenatureofreligionitselfbegantochange.
The1700sinEuropeisoftendescribedastheAgeofEnlightenment,atimewhenrationalityandreasonhadaswellofsupport,andtheoverwhelmingpoweroftheChurchbegantobequestioned.Thegreateracceptanceoftheobjectiv-ityofscienceenabledscientiststoraiseconcernsaboutthepracticeofspiritualhealersandvillagedoctorswhousedmagicandprayertocureillness.
TheEnlightenmentalsosawpoliticians,philosophersandwritersbegintocallforgreatertolerance,liberalismandthecriticalquestioningofinequality;thedissatisfactioninunequalpowersystemsfuelledworldchang-ingeventssuchastheFrenchRevolution.Thisperiodofgreatchangeraisedmanydebatesandfierceconflictinaca-demiccircles,alongwithagreatwealthofwritingandcreativeoutput.
MaryShelleyreflectsthisconflictinherwriting.VictorFrankensteinisinspiredinhisearlyadultlifewiththewritingsofoccult,magicalphilosopherssuchasCorneliusAgrippa,whowaspublishingworkinthe1400–1500s,explainingandexploringhisbeliefinimmortality,magicandtheparanormal.Agrippawasatheologian,andsawtheparanormal,exorcisms,incantationsandmagicaspartoffaith.
LuigiGalvani discovered that muscletissuereactedtoelectricity.Heexperimentedondeadfrog’slegs,passingelectricalcurrentsthroughthemandwitnessingthemusclesreanimate,makingthelegstwitch.ThisdiscoveryledtoAllesandroVoltainventingtheelectricbattery.
LuigiGalvani1737–1798
AllesandroVolta1745-1827
Michael Faraday 1771–1867
André-Marie Ampère 1775–1836
HumphryDavy1778-1829
Electricity in Europe at the time
He studied the impact of electricity on the human body.
Voltainventedamachinethatcreatesstaticelectricity,andthefirstchemicalbattery,providingcontinuouselectricaloutput.
Hediscoveredthatmagnetsandcopper wire created an electrical current.
Ampère discovered electromagnetism.
AnEnglishscientistwhoinventedthefirstelectricallightbulb.
AsketchillustratingsomeoftheexperimentscarriedoutbyGalvanionfrogs.(1791)
Faith MaryShelleyopenedheroriginaltextwithaquotefromMilton’sParadiseLost,anepicpoemaboutAdamandEve,theoriginsofthedevilandthefallfromparadise,whentheyaretemptedtoeatthefruitintheGardenofEden.
DidIrequestthee,Maker,frommyclayTomouldmeman?DidIsolicittheeFromdarknesstopromoteme?
Therearemanyquestionsaboutfaithinthiscomplexnovel.Manypeopleseethecreatureasametaphorforhu-mankind,createdbyGodandabandonedontheearthtostruggleandsuffer.ThisisachallenginganalogytomakeforChristianity,becauseinthisanalogyVictorisGod,afailed,frightenedandunethicalman,flawed,imperfectandashamedofhiscreation.Humansthen,portrayedbythecreature,areanaccident,anexperimentgonewrong.Inthisanalogy,humanshavebeenabandonedand,inanger,commitatrocitiestoattemptsomekindofrevenge.
SomeseeVictor’splightasananalogyformanchallengingGod/religionitself,liketherevolutionarywritersandphilos-ophersofthetime.Bycreatinglifehimself,heisrenderingGodunnecessaryandquestioningtheverysanctityoflife.
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Stretch
WhatisMaryShelleysayingaboutreligionandChristianitybylinkingittothestoryofPrometheus?Whatcurrentpoliticaleventsareusingreligiousstatementstotalkaboutthesanctityoflife?Whatworldeventscanyouthinkofthatusereligionasanexcusetotakelife?WhatworldeventscanyouthinkofthatusereligionasexcuseNOTtotakelife?WhatdoestheMiltonquotemean?Howdoesitreflectaparent/childrelationshipandwhatisthissayingaboutGodandhumankind?
Mary’sfulltitleforthenovelwasFrankenstein, or The Modern Prometheus.
Prometheus is an ancient Greek myth. Prometheus modelled man out of clay, much as God does in the Bible.PrometheuslovedhiscreationmorethantheothergodswithwhomheresidedonMountOlympus.WhenZeusdemandedthathumansgiveanimalsacrifices,PrometheustrickedZeus,wantingtoprotectthehumans.Angryatbeingtricked,Zeuspunishedmanbytakingawaythegiftoffire.ButPrometheuslitatorchfromthesunandbroughtfireback.Zeus,evenangrier,sentPandora,thefirstwoman,whosecuriosityunleashestheexistenceofevil,sufferingandmiseryontheworld.ZeusfurtherpunishesPrometheusbychaininghimtoarock,wherehewastormenteddailybyagianteagletearingathisliver.AsPrometheusisimmortalinthisstory,hisliverregenerateseachnight,onlytobeeatenagainthenextday.
TherearemanyparallelsbetweenthisstoryandthestoryofAdamandEveintheGardenofEden,butinthisstorythegodsarevengeful,spitefulandcruel.Ittalksofpunishmentofhumans,andtheabuseof power.
Prometheus
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Therearemanyethicaldebatesthatseereligionandscienceinconflict.Forexample,debatesaroundabortion,euthanisia,stemcellresearchorcloningoftendrawinfaithbasedargumentsaboutthesanctityandpreciousnessoflife.EthicaldebateslikethisonetouchonthemessimilartotheethicaldebatesinherentinFrankenstein.Oneoftheconflictsbetweenfaithandscienceliesinthereligiousbeliefinthingsthatbreakthelawsofnatureandscience.Ascientificunderstandingofahumanbeingwouldsuggestthatlifeendsoncethebodyandbrainaredead.Somefaithswouldsuggestthatanelementofthehumanidentitycancarryonbeyonddeath,thatthereisanafterlife.Somefaithsrequireabeliefinmiracles;apersondefyingnaturallawbywalkingonwaterorturningonematterintoanother.Themorescienceadvancesandweunderstandhowtheworldworks,theharderitisforsomepeopletobelieveinmiracles.Othersseethemmerelyasametaphororstorytoexplainmoralmeaning,andthattheyarenotinconflictwithscientificunderstanding.
Philosophy
Student Activity
Ingroupsselectoneoftheenquirytopicsbelowandexploretheissues,imaginingmanydifferentviewpoints,eveniftheyarenotyourown,untilyoufeelyouareclosertoananswer.Trytoalwaysjustifyyourstatements,beopentochangingyourmindinthelightofabetterargument,identifyanddefineconceptsandnoticethedifferencebetweenfact and opinion.
HumanRightsVictorhascreatedlifebutisthislifesacred,likeotherhumanlife?Doesthecreaturehavethesamerightsasotherhu-mans?Areallhumansequal?Arerightsindependentofouractions,ordoweonlyhavethemifwebehavewell?Doesacriminalhavethesamerightsasothers?
The SoulJohnLocke’sEssay Concerning Human Understandingarguedthathumanbeingsareablankslateatbirth,a‘tabularasa’.Identityisformed,notthroughtheGod-givengiftofasoulwhilstinthewomb,butthroughlearningandmimick-ingfamilyandsociety.Whatdoyouthinkaboutindividualidentity,areweacombinationofwhatwehavelearntandexperienced,oristhereanaspectofusthatismorethanthesumofourparts,asouloraspirit?Couldthisexistafterthebodyisnolongerpresent?
ResponsibilityVictorfeelsaresponsibilitytohiscreation,despiteabandoningitinitially.Doesaparenthaveaninnateresponsibil-itytotheirchild,andisthatgreateriftheyaregeneticallyrelated?Areweaproductofnature,ornurtureorboth,orneither?Ifwearedictatedbyourgenes,areweincontrolofwhoweare?Ifweareaproductofsociety,arewetoblameforouractions?Isaparentresponsiblefortheactionsoftheirchild?Ifnot,whydoesthecurrentgovernmentfineparentsifchildrenfailtoattendschool?
TheIndividualMaryShelley’sfather,WilliamGodwin,wasanimportantpartofthephilosophicalUtilitarianmovement.Hebelievedthatemotionshouldnotplayapartinhowwedecidewhattodo,insteadweshouldrelypurelyonreason.Whatimplicationswouldthishaveforconceptssuchascompassion,caring,family,empathy?Howwouldyoudecidewhotorescuefromaburningbuilding,asinglememberofyourownfamilyoragroupof300stran-gers,someofwhomwillbe‘good’peopleandsomewillbe‘bad’people?
Feminism
MaryShelley’smother,MaryWollstonecraft,wasoneofthefirstfemalewriterstopublishworkaboutgenderequality.Her1792publication,isheraldedasthestartingpointofpublishedwritingaboutthesubject.Inthisworksherecognisedthateducationwasthekeytoequalitybetweenthesexes. Inthe1700schildrenfromworkingclassbackgroundswouldbeeducatedforafewyears.Middleclassboysweremostcommonlyeducatedingrammarschools,butgirlswouldbeeducatedathome.Thismeantthatmostgirlsdidnotreceiveanyformaleducationbeyondayoungage.Wheretherewereschoolsforgirls,theyoftenfocussedonsewing,cookingandfashion.
Thiswasasystemsetupbymen,whoheldallpositionsofpower.MaryWollstonecraftbelievedthatthesefewpowerfulmenwerewithholdingequalaccesstoequaleducationforwomen,inorderthattheyremaininpoweroverwomen.Thiswasaconsciousanddeliberatesystemofdisadvantage.
MaryShelley’sfather,WilliamGodwinalsohadrevolutionaryideasforhisera,questioningtheextremeclassdividesinEnglandandthepowerandprivilegeoftheartistocracy.
In1897MillicentGarrettFawcettfoundedtheNationalUnionofWomen’sSuffrageSocieties.Theiraimwastochangegenderinequalityinsociety,throughcampaigning,writingandlobbyingpoliticalleaders(whowereallmen).HerworkiscontinuedtodaybytheFawcettSociety.
MaryShelleywasalsoapioneer,asanearlyfemalewriter.Societystillexpectedwomentoremaininthehome,beeducatedindomesicchores,maintainthehome,andengageinsocialactivities.Rousseau,afamousphilosopher,arguedinEmile,histreatiseoneducation,thatwomenshouldonlybeeducatedforthepleasureandentertainmentofmen.Womendidnothavecareerswithoutgreatstruggle,andsomewomenwriterspublishedworkundermalepseudonyms,fakenames,inordertoavoidpublishersrejectingtheirworkbasedongender.
Overthefollowingtwohundredyears,womenandmenhavecontinuedtofightforequalrightsforallhumanbeings,regardlessoftheirgender.
However,eventodaywomenarestillunequalinsocietyinmanyways.Forexample,womenarehugelyunderrepresentedinpositionsofpower.InfacttherearemoremennamedJohninchargeofFTSE100companiesthanthereare women in the whole list.
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Source:Guardian06/03/2015
Definition:FTSE100isanindexofthefinanciallylargest100companiescurrentlylistedontheLondonStockExchange.
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Today,intheUKwomenarestillpaidbetween10%and34.5%lessforthesameworkastheirmalecolleagues.
Paygap• Thefulltimegenderpaygapis10%,andtheaveragepart-timepaygapis34.5%.• Itisestimatedthatforeachyearamotherisabsentfromtheworkplaceherfuturewageswillreduceby5%.• Approximately70%ofpeopleinnationalminimumwagejobsarewomen.• 54%ofwomenworkingpart-timehavebeenfoundtobe‘employedbelowtheirpotential’,whichamountsto2.8
millionwomen.(http://ukfeminista.org.uk/)
Genderinequalityisfargreaterhowever,inotherpartsoftheworld.Fewergirlsthanboysareattendingschoolandgirlsaresubjecttofargreaterviolence,oppression,arrangedmarriagesanddomesticslaverythanboysworldwide.However,manycountriesthatyoumightexpecttobedoingbadlyingenderequalityforwomenareactuallydoingbetterthantheUK.TheUKdoeswellinequalityoneducationandhealth,butbadlyonpoliticalandfinancialequality,whereasinRwanda,64%ofthemembersofparliamentarewomenputtingitinthetoptenglobally.TheUKcomes56thinthatlist,justbelowKyrgysztan.
MillicentFawcett(fourthfromleft,bottomrow)ataSuffrageAllianceCongress,London1909
Stretch
TryresearchingothergenderrelatedstatisticsfortheUK,whatsurprisesdoyoufind?Canyouthinkofreasonswhytheremightbethesedisparities.Whataboutsexandgenderaroundtheworld,howarewomendisadvantagedinothercountriesandcontinents?Whataboutmen?Whatinspiringgenderactivistscanyoufindoutabout,trytofindsomeonefromeachcontinent.Whatactionscouldyoutaketopromotegenderequalityinyourschoolorcommunity?
Sex & gender definitions
Sex-aperson’ssexisdeterminedbytheirgeneticsoranatomyatbirth.Peoplecanbemaleorfemaleorintersex.Intersexisatermusedforsomeonewhoseanatomydoesnotfitintothepre-determinedcategoriesofmaleorfemale,apersonmaybebornwithbothreproductionorgans,orneither.
Gender-genderisatermusedtodescribeaperson’sownsenseofthemselvesasmaleorfemaleoronaspectrumbetweenthetwo.Aperson’sgendercanbefluid,andmayberepresentedinhowtheydress,behaveorchoosetodescribethemselves.Apersonmaybeassignedasexatbirthbutfeeltheirgenderisdifferent.Genderisnotrelatedtosexuality.Gendersareexpresseddifferentlyindifferentcountriesandculturesanditchangesovertime.Somefindsocietalexpectationsofhowacertain‘gender’shouldbehaveordresstobeoppressiveorexcluding.
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Puppetry
BlackeyedTheatreisveryexcitedtobeworkingwithpuppetmakerYvonneStonetobringtheCreaturetolife.HerearesomeimagesofYvonne’sfirstmodels.
Multi person puppetry
Therearemanydifferenttypesofpuppetryfromacrosstheworldandmanydifferentapproachestostyle,techniqueandscale.TheCreaturewilluseatechniqueoftenreferredtoas‘multipersonpuppetry’.
Upto3performerswillworktogethertobringtheCreaturetolifeonstage.Onepuppeteertakesthelead,oftenmanipulatingtheheadandchest,whilsttheotherssharethelegsandarmsorleftandrightsideofthebody. They will hold these parts of the body directly with theirhands,orsometimeswithdiscreethandles.
The puppeteers must work as one person to create the illusionthatthepuppetisaliving,breathingthingandtheywillspendalotoftimeinrehearsalexploringdifferentmovementsandgesturesinordertomanipulate their own element in complete synchronicity with the other puppeteers.
Breath
Focus
One of the key principles of puppetry is the use of breathandtechniquesthatcreatetheimpressionthatthepuppetisbreathingthroughgentlemovementsofthepuppet’storso,andtheperformers’ownbreathingpatterns.Usingacarrierbag,seeifyouandapartnercanmakeitappeartobebreathinggently.
When puppeteers focus their eyes solely on the part of thepuppetthattheyareholding,theaudience’sattentionisdrawndirectlytothepuppet and away from the puppeteer. Some puppet companies play with the focus of the puppeteers and invite the audience to be conscious ofthepuppeteerandthepuppetatthesametime.Sometimestheyallowthepuppettonoticetheirownpuppeteer! Continueexploringthecarrierbag,inviteanotherperson to watch. Ask that person to tell you when your bagisbelievableasalivingthing,andwhenitisn’t.Whatdifferencedoesitmakeifthepuppeteerslookatthebag,oriftheylookelsewhere.Canyourbagpuppetacknowledgeyou,thepuppeteerandstillbebelievabletotheaudience?
Images:Scalemodelsofthepuppet,alsoknownas‘maquettes’.
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Left:Experiments
Below:Fullscaledrawingsfront and side
Left:Workingonthejointsor skeleton of the Creature
Below:Research
Above:Materialscolourpallete
Costume
AnneThomsoncreatesmoodboardsandillustrationsofcostumesduringthedesignprocess.
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Set
Herearetwoinitialdesignsketchesbysetdesigner,VictoriaSpearing.
Thetopimageshowsthestartingposition;aship’smast(4minheightatmost)withaladderonesideleadinguptoahookthepuppetcanbehungontobeburntattheend,andropesontheothersideagainstwhichthepuppetcouldbeheldagainsttolooklikeheisclimbing.Aroundthebaseisapileofcrates,furniture,planksetctocreatedifferentstorytellinglocations.Itcouldlooklikeabigtreeiflitfrombehind.Thereisshipdressing/fenceupstagerightasanareaforcostumeorinstruments.Thesecondpictureshowsthepileofcrates/furniturebrokenapart-smalltruckswhichsplitofflikethecracksintheicetobeusedfordifferentlocations.
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Watching the showWehopethatyouarelookingforwardtoyourvisittoseeBlackeyedTheatre’sproductionofFrankenstein.
Inordertomaximiseyourstudentsunderstandingoftheshowwehavecreatedanumberofquestionsaboutthedifferent‘lenses’throughwhichyourstudentscanwatchtheshow.Theselensesallowthestudentstofocusinontheperformance elements, and analyse them in the moment.
Somestudentsmayfindithelpfultomakenotesduringtheshow,othersmayprefertoconcentratefullyontheproductionandmakenotesafterwards.Youcanalsochoosewhethertoallocategroupstolookspecificallythroughdifferent‘lenses’duringtheshow,oraskallstudentstocoverallareas.
Performances
Howdotheactorssharetheroles?Howdoestheaudienceidentifythecharacters?Howwouldyoudescribetheactingstyle/s?Isthereaparticularperformerthatstandsoutandwhy?Identifythevocaltechniquesusedthroughouttheshow.Howdotheactorsphysicalisethecharacters?Aresomecharactersmorestylisedthanothers,andwhy?Observethechoreographywithinthepiece?Howisthe‘ensemble’used?Howhavethecastcreatedthe‘visual’imageswithinthepiece?
Story
Whathappensineachscene?Isthestoryclear?Breakthestorydownintodifferentsections.Whathappensduringthetransitions?Whatthemesareapparent?Identifymomentsoftension,suspense,con-flict,howdidtheseengageyouasanaudiencemember?
Music and Song
Whereissongusedwithintheshow?Whateffectdoesthishaveonyourunderstandingofthestory?How would you describe the style of music?Whichactorsplaywhichinstruments?
Visual Design
SetSketch the main scenic elementsHowarethedifferentplacescreated?Whydoesthesetlookthewayitdoes?Whatarethevisualqualitiesoftheset?Whatmovesandwhatisstatic?Howaretheprojectionsbeingused?
LightingHowdoesthelightingcreateatmosphere?Howislightingusedtohelptellthestory?Canyouidentifylightingtechniquesusedintheshow?
CostumeHowhavecostumesbeenusedtohelpindicatedifferentcharac-ters?Whereandwhendothecharacterschangecostumes?
lenses
EVALUATION
ACTIVITIES
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Assoonaspossibleafteryouhaveseentheproduction(thesameeveningorthenextdayisideal)encourageyourstudentstositdownandmakesomedetailednotesabouttheshow.
Sketchthescenicelementsandthelayoutfordifferentscenesandmomentsofactionthatstoodout.Considertechniquesthatyoureallyenjoyed.Identifymomentsthatchallengedyou,thatyoudidn’tunderstandormadeyouthink.Runthroughtheproductionelements‘lenses’andwriteasmanyfactsabouttheseareasasyoucan,considerfactsaswellassubjectiveopinions.Imagineyouarewritingareviewforalocalpaper,whatmightapotentialaudiencememberwanttoknowbeforegoingtobuyaticket?
Post production
NOTES
EVALUATION
ACTIVITIES
Snowball
1.Pairupyourstudentsandaskthemtodiscusstheirfavour-itemomentsfromtheproduction2. Then ask them to pick one of those moments3.Askthemtocomeupwithaquestionthattheywouldliketoaskthedirectoraboutthatspecificmoment?4.Mergepairswithanotherpairtoformgroupsoffour5.Askeachpairtosharetheirquestions,anddecideononeofthosequestionstotakeforward6.Mergegroupsoffourtogethertoformgroupsof8andrepeatthenegotiationexercise7.Continuetomergegroupsuntilonelargegroupisformedandthewholegrouphasdecidedononequestionthattheywouldliketoaskthedirectorabouttheproduction8.Setahomeworkactivitywhereeachstudenthastowriteadetailedanswertothequestion
Epistolary Evaluation
Giveeachstudent,orgroupofstudents,oneofthefollowingformats,andsetthemthetaskofwritingashortcriticalreviewoftheproductioninanappropriatestyletothatoftheirformat.
-diaryextract-televisionnewsarticle-tabloidnewsarticle-lettertothecompany-health&safetyreport-loveletter- speech- youtube video-Twitterstatusupdate
Collatetheirevaluationsintoonecompletedocu-ment.
Blog
WriteareviewofBlackeyedTheatre’sproductionofFranken-stein.
Upoloadthefiletoyourschool’swebsite,createyourownblogsiteandsendyourreviewstotheDirector.
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Crew Biographies
JohnGinman-WriterJohnhasbeenworkingprofessionallyinUKtheatreasadirectorandwriterfortwenty-fiveyears,includingperiodsasAssociateDirectorattheBelgradeTheatre,CoventryandtheNuffieldTheatre,Southampton,asDirectorofTheatreatSouthHillParkArtsCentre,andasArtisticDirectorattheSwanTheatre,WorcesterandatContactTheatre,Manches-ter.Duringthe1990shewroteanddirectedextensivelyfortheMidlandsArtsCentreinBirmingham.HespecialisesinthedirectionofShakespeare,themainstreamEuropeanrepertoire(includingBrecht,Molière,andWedekind),large-scalecommunityprojects,andworkforchildrenandyoungpeople,inadditiontodevelopingplaysbynewwriters.IncollaborationwiththecomposerColinRiley,hehasalsodirectedandwrittenthelibrettiforthreeoperas,includingNoir(PurcellRoom,1995),Gulliver(Malvern,1995)andScienceFictions(CDreleaseandtheDrillHall,London,1998).HeisConvenoroftheMAWritingforPerformanceprogrammeatGoldsmithsCollege,London.JohnadaptedBlackeyedTheatre’shugelysuccessful2013productionofDracula.
EliotGiuralarocca-DirectorEliotstudiedEnglishLanguageandLiteratureatChristChurch,OxfordbeforetrainingattheGuildfordSchoolofAct-ing.HeisdelightedtoberenewinghisassociationwithBlackeyedTheatreafterplayingthetitleroleinthecompany’sproductionofTheBeekeeperatWaterlooEast(forwhichhereceivedaBestActornominationinthe2012OffWestEndAwards).HehaspreviouslydirectedDracula,NotAboutHeroesandTheGreatGatsbyforBlackeyedTheatre.HehasrecentlydirectedBaroqueAroundtheBlockforArmonicoConsortwhichissettotourNationallyin2013andpriortothisdirectedtheirNationaltourofMonteverdi’sFlyingCircuswhichwillbetouringtoAmericain2013.OtherdirectinganddevisingcreditsincludeThreeServantsandVoyagersforJetTheatre/CroydonWarehouse,SexandSui-cide,SorryIsland,andPostcardsfromTransylvania(DurhamTheatreCompany),andTheLoveLettersofPrivateBlade(RiversideStudios).Overthelast20yearshehasworkedextensivelyinTheatre,FilmandTV.RecentworkasanActorincludes:TheResist-ibleRiseofArturoUi(LiverpoolPlayhouse/NottinghamPlayhouse),IlTurcoInItalia(RoyalOperaHouse);MeasureforMeasure(ThelmaHoltProductions);ASmallFamilyBusiness(WatfordPalaceTheatre);Don’tLookNow(LyricHam-mersmith);TheComedyofErrors,TitusAndronicus(Shakespeare’sGlobe);TwelfthNight(RoyalExchangeManches-ter);RosencrantzandGuildensternareDead,HorseandCarriage(WestYorkshirePlayhouse);TheBlackDahlia,BuriedAlive,TheCherryOrchard,DemonsandDybbuks(MethodandMadness);AMidsummerNight’sDream,TheTempest(NuffieldTheatreSouthampton);TheGovernmentInspector(SalisburyPlayhouse);ManforHire(StephenJosephTheatreScarborough);TheLiontheWitchandtheWardrobe(LibraryTheatreManchester);Oxygen(TricycleTheatre).Televisionworkincludes:MindGames(ITV)andEgypt(S4C)whileFilmworkincludes:Nine(Lucamar/WeinsteinCompany);NightSwimming(Tri-Star);DIYHard(BritishFilmFoundation)Cake(SubrosaFilms)Forfurtherinformation:www.sainou.com
RonMcAllister-ComposerRonwasborninGlasgow,studiedmusicatGlasgowUniversityandthenwentontocompleteapostgradinThea-treStudiesatUniversityCollege,Cardiff.HecomposedmusicformanyshowsinGlasgowwhichwereperformedatGlasgowArtsCentre(Agamemnon,Woyzeck,TheHardMan)beforemovingSouthtotakeupthepositionofHeadofMusic for South Hill Park Arts Centre. At South Hill Park, Ron wrote music for many shows and musically directed many others(Chicago,GirlsofSlenderMeans,TraffordTanzi).HealsoreceivedcommissionsfromtheScottishArtsCounciltowritemusicforScottishYouthTheatre’sproductionsfrom1984-1988(includingJonathanHarvey’sTheColonist,JohnMcGrath’sTheGamesABogeyandDeniseCoffey’sLizzie’sStrategy).Hewroteandconductedalargesite-specificpiece-PuttingTheSunInItsPlace,performedbytheScottishChamberOrchestrawithScottishYouthTheatreattheGlasgowGardenFestivalin1988.In1990RonlaunchedanartscentreintheBorders(TheMaltingsinBerwickUponTweed),workingasArtisticDirectortherefortwoandahalfyears,andhismusicaladaptationofJamesandTheGiantPeachtourednationallyfromtherein1991.Laterin1991RonmovedtoHuddersfieldtobecomefounderdirectoroftheLawrenceBatleyTheatre,whichhelaunchedin1994.In1995heproducedhisfirstoperathere,asaco-productionwithOperaNorth-ThePictureofDorianGray.Ronhascontinuedtocomposefortheatresincethen,mostrecentlyfromhisbaseatSouthHillParkArtsCentre,wherehewasappointedChiefExecutivein2001.PreviouscomposingworkincludeDracula,TheResisitibleRiseofArturoUiandOedipus(nationaltourswithBlackeyedTheatre),Shakespeare’sR&J(OriginalTheatre)andthelast ten pantomimes in the Wilde Theatre.
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EllieVerkerk-MusicalDirectorElliestudiedattheRoyalCollegeofMusic.MusicalTheatrecreditsincludeKeys/BVdepforJerseyBoys(PrinceEdwardTheatre,London).MusicalDirectorcreditsincludeCabaretAtTheCellarBar(GoldenRatio,SouthHillPark,Berkshire),PlugInTheLeadandMashUpCabaret(PauldenProductions,LeicesterSquareTheatre,WestEnd),CabareteveningsattheLandorTheatre(variousWestEndartists,Clapham,London),BeautyandTheBeastandOh,WhatALovelyWar,TheGreatGatsby,Dracula(BlackeyedTheatre,NationalUKtours),WestEndUnplugged(IntervalProductions,LeicesterSquareTheatre)andJourneyToThePast(HelenaBlackmanfromBBCTV’sHowDoYouSolveAProblemLikeMaria,UKTour).Recordings/albumsincludeMyParade(StephanieFearonfromBBCTV’sOverTheRainbow),TheSoundOfMusicals(variousWestEndartists),andStichedShoesandAnIrishWristwatch(Buswell).VideocreditsincludeLetItGo(Sheridan),andStraightenUpAndFlyRight(AaronDelahunty).SheworksattheReadDanceandTheatreCollegeinReading,Berkshire,andisanassociateMDfortheGuildfordSchoolofActing.Whenshe’snotplay-ingmusicaltheatre,you’llfindherplayinginbandsandfestivalsonhertrumpet!Website-www.ellieverkerk.com
AnneThomson-CostumeDesignerAnnegraduatedfromRoseBrufordCollegeofTheatreandPerformancewithaBA(hons)inCostumeProductionin2013andhassinceworkedasacostumemaker,assistantanddesignerintheatre,TVandfilm.Upongraduating,sheworkedontheWestEndmusical‘Wicked’,afterwhichshewentontoworkwithEnglishNationalBallet,RoyalOperaHouse,NationalTheatreandAnglestheCostumiers.Anne’sfilmandTVworkincludesdesignforseveralindependentprojectsaswellasatraineeshiponthe‘Spooks;theGreaterGood’(2015),contributingtothecostumeworkroomonseason5of‘GameofThrones’andmostrecently‘Taboo’fortheBBC/FX.AnnehasalsodesignedcostumesforproductionsatSouthHillParkArtsCentresincesummer2015,includingAliceinWonderland, The Borrowers, Sweeney Todd and Oliver.
VictoriaSpearing-DesignerSincegraduatingfromBrettonHallin2001,Victoriahasworkedasafreelancetheatredesignerandmaker.TheatreworkincludesTheQueenandI,BugsyMalone,BFG,WhistleDowntheWind,WhenWeWereMarried,CharlieandtheChocolateFactory,Norfolk’sRose,TheCaretaker,AroundtheWorldin80days,AliceinWonderland,TheWizardofOz,BlueRememberedHills,SummerHoliday,HouseandGarden,TheAdventuresofMrToad,HenryV,Oliver!FantasticMrFox,BrassedOff,NoughtsandCrosses,TheLiontheWitchandtheWardrobeandBillyElliot(allforSouthHillParkArtsCentre),MorttheMusicalandLoservilletheMusicalforYouthMusicTheatreUK.TouringworkincludesTheBeekeep-er(forwhichshewasOFFIEnominated),TheGreatGatsby,Teechers,Dracula,NotAboutHeroes,MotherCourage,TheTrial,TheCaretaker,Art,Misery,TheResistibleRiseofArturoUi,Oedipus,OhWhataLovelyWarTheCherryOrchard,Alfie,andTheCaucasianChalkCircle(allforBlackeyedTheatre),SeeHowTheyRun,TwelfthNight,DancingatLugh-nasa,Shake-speare’sR&J,TheImportanceofBeingOscar,MallardandJourney’sEndforOriginalTheatre,TheMad-nessofGeorgeIIIforWildeEnterprisesandTheGo!Go!Go!ShowforShows4kids.ShehasalsodesignedSouthHillPark’shugelysuccessfulpantomimes,DickWhittington,SleepingBeauty,JackandtheBeanstalk,Cinderella,Aladdin,BeautyandtheBeastandPeterPan.InadditionshehasdesignedandmadepropsforuseineducationalproductionsinmostofthemajorLondonmuseums.
CharlotteMcClelland-LightingDesignerCharlottetrainedonanArtsCouncilbursaryatCentralSchoolofSpeechandDrama.RecentlightingdesignsincludeAngelsOnHighforGuildfordInternationalMusicFestival(verticaldanceonGuildfordCathedral),CarmenandtheMar-riageofFigaroforLongboroughFestivalOpera,Art,TheResistibleRiseofArturoUi,Oedipus,OhWhatALovelyWar,TheTrial,Dracula,NotAboutHeroes,TeechersandTheGreatGatsbyforBlackeyedTheatre,PlasticineandButterflyKissforBirminghamSchoolofSpeechandDrama,EvertheBullforDemonstrate,CinderellaforSouthHillParkArtsCentreandTheBaghdadMonologueandChicosdel21forFrancesMLynch/ElectricVoiceTheatre.
Crew Biographies continued...
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YvonneStone-PuppetsandPuppetryYvonnestudiedPuppetryattheCentralSchoolofSpeechandDramainLondonhavingpreviouslyattendedtheByamShawSchoolofArt.Sheisnowanindependentpuppetdesigner,director,makerandperformerfortheatre,televisionandfilm.Yvonne’sTheatrecreditsincludeTerryPratchett’s‘Nation’,‘Warhorse’and‘HisDarkMaterials’allfortheNationalTheatre;‘RoomontheBroom’,‘TheGruffalo’,‘TheSnowDragon’and‘EmilyBrown’forTallStoriesTheatreCompany;‘Rubbish’and‘Mojo’forTheatreRites;‘TheLionKing’;‘IntheNightGarden–Liveshow’;and‘Macbeth’theOperaforMalmoOpera,Sweden.ShealsodesignedandbuiltallthepuppetelementsfortheNationalTheatre’sJubileeTribute.HercreditsfortelevisionincludetheCBeebiesproduction‘SpacePirates’,forwhichYvonnecreatedallthepuppetelements.YvonneplayedthepartofDibDabintheBAFTAnominated‘DoodleDo’.Shehasalsoworkedon‘MrBloom’sNursery’forCBeebies,‘Mongrels’forBBC3andMattLucas’‘Pompidou’.YvonnehasalsoheldpuppetryworkshopsatvariouslocationsincludingtheNationalTheatre,YoungVicTheatre,andtheCentralSchoolofSpeechandDrama.
DanielleCorbishley–EducationAdvisorDanielleisaperformer,director,lecturerandmagicianwhodevelopsanddirectsperformanceswithBeautifulCrea-turesTheatrealongsidehereducationandfreelancetheatrework.BeautifulCreaturesproducephysicalandvisualtheatresforaudiencesofallagesandhaveenjoyedtouringtheirworkthroughouttheUKandproducinglargescaleparticiaptoryperformancesinBerkshire.BeautifulCreaturescurateaprogrammeofoutdoorartsatCavershamFestivalandprovideopportunitiesforyoungpeopletogainvocationalexperience.DanielleiscurrentlytouringwithPeriplum’s451asCompanyStageManagerandPerformer.PreviouseducationpacksforBlackeyedinclude:MotherCourage,Dracula,NotAboutHeroes,TeechersandTheGreatGatsby.
LizAllum-EducationPackWriterLizisawriterandperformer.Shealsoworksforaneducationcharity,supportingteachersinaddressingissuesofdiversityandinclusion.ShewritesforAltReadingandtheBritishTheatreGuide,andisWriterinResidenceattheCornExchangeinNewbury.
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