Metamorphosis

"How about if I sleep a little bit longer and forget all this nonsense",. - Gregor Samsa

Introduction:

The play metamorphosis was originally a novel by Franz Kafka published in 1915, this was later adapted by Steven Berkoff year later in 1969. The play follows Gregor Samsa, a young working class man in the fabric industry who suddenly awakes one morning to find himself transformed into a beetle. The play is a metaphor for the effects of a capitalist society on the working class and on a family. 

Franz Kafka + Context:

Franz Kafka was a Czech Jewish playwright (1883-1924) belonging to the German speaking minority in Prague. His life and work have been analysed by psychiatrists and psychoanalysts who believe he exhibited signs of schizoid personality: "Schizoid personality disorder is a mental health condition marked by a consistent pattern of detachment from and general disinterest in social relationships. People with schizoid personality disorder also have a limited range of emotions when interacting with others." This lead to him writing metamorphosis as a representation of his own experience of alienation due to mental illness, Jewish identity and language minority within the city. During his life he had a strained relationship with his father which is transferred to Gregor within the play. 

Kafka was more concerned in exploring the human condition through a lens of alienation, absurdity, and social injustice, rather than a politician with a specific political agenda. However his political view leaned more towards socialism and Marxism which is an obvious inspiration in the critique of a capitalist society. Interestingly Kafka wanted when all of his work to be destroyed when he died. His friend Max Brod ended up reading all his work and publishing his novels. Throughout Kafka's life he always believed he was a failure and it wasn't until after his death did he become famous. 

Kafkaesque Nightmare: Kafka's work is characterised by nightmarish settings in which characters are crushed by nonsensical, blind authority. Kafkaesque is applied to bizarre and impersonal administrative situations where the individual feels powerless to understand or control what is happening. This refers to the nauseous and belittling sinking feeling which leaves us feeling diminished, lost and hopeless when dealing with an unseen, malevolent bureaucracy. 

How does Franz Kafka's version differ from Berkoff's:

Kafka's novella explores modernist themes like isolation and the absurdity of life. Berkoff's adaptation explores themes of identity, isolation, and family dynamics. Kafka's story is told from Gregor's point of view, so the reader is only exposed to his emotions and impressions. Berkoff's adaptation focuses on the animalization of Gregor and the emotional and social alienation that follows. In Kafka's version the play starts with Gregor awakening as the bug and the only scenes of before the bug are through Gregor's narration whereas in Berkoff's adaption the play starts by introducing the family and building up sympathy for Gregor. Kafka wanted the audience to focus on the absurdity of the transformation and Berkoff replaced this with the use of Greek chorus. The use of absurd mime and movement maintains the uneasy sinister feeling of the play. 

One of the biggest differences in the portrayal of the bug. Kafka describes him as an Ungeziefer - this translates to 'vermin' or more literally 'an inedible or unclean creature.' This describes something much worse than a beetle, something unwanted and disgusting to all. Kafka based Gregor off of himself and his own experiences. This is why the creature is so important as this is the image that Kafka had of himself. He is so removed from society and alienated all his life he had no self worth. In Berkoff's interpretation he gives the bug a human face which creates horror for the audience in a different way. We still see his human side and therefore we sympathise with him. 

Historical: 

In the early 20th century, Europe was a boiling pot of political ambitions and nationalistic fervour. Major powers like Britain, France, Germany, Austria-Hungary, and Russia were vying for dominance. These nations formed intricate alliances, often to counterbalance the threats posed by their rivals. 

Many of Europe had just undergone the industrial revolution creating this scramble for arms and innovation. Diplomatic alliances were crucial in this era. They often determined the fate of nations.

• Triple Entente: France, Russia, and Britain formed this alliance. They aimed to counter Germany's power.
• Triple Alliance: Germany, Austria-Hungary, and Italy created this pact. They sought mutual protection and dominance in Europe.

As you know these alliances led to a build of of tension and suspicion. The assassination of the Archduke Franz Ferdinand was the straw that broke the camels back. 

Art and literature in pre-war Europe saw a rise in various innovative styles. Artists and writers broke away from traditional forms.

• Impressionism: Focused on light and colour, capturing moments in time.
• Expressionism: Emphasized emotional experience over physical reality.
• Symbolism: Used symbols to express deeper meanings and emotions.

Literature also flourished with new genres and writing techniques. Many writers explored complex themes and experimented with narrative forms.

Europe before World War One was a complex and dynamic region. Nations were entangled in alliances and rivalries. This period set the stage for global conflict. Understanding this era helps us grasp the origins of modern geopolitics. Reflecting on this history offers valuable lessons for the future.

Social and Cultural Context: 

• Jewish Identity and Cultural Isolation: Kafka was born into a middle-class German-speaking Jewish family in Prague. While his family held German cultural ties, they were part of the Ghetto and often excluded from the broader German community. This isolation contributed to a sense of being a "stranger" within his own family and in his city.
• Father-Son Relationship: Kafka's relationship with his father, who was a strict and demanding figure, deeply impacted his life. His father's strong authority and expectations created a sense of alienation and anxiety.
• Modern Anxiety and Alienation: Kafka's writing often reflects the anxieties of modern life, including bureaucracy, alienation, and the search for meaning in a seemingly absurd world. He was acutely aware of the pressures of modern society and the difficulties of fitting in.
• Career and Writing: Kafka's profession as a lawyer and his subsequent work in insurance further contributed to his sense of alienation from his creative aspirations. He often wrote in his spare time, finding solace in his literary work.
• Personal Struggles: Kafka also experienced personal challenges, including health issues and his strained relationships with women. These personal struggles, coupled with his broader social anxieties, are evident in his writing.
• Post-War Impact: Kafka's works, published after his death, resonated strongly with readers who had experienced the trauma of World War I and were facing the uncertainty of the future. His themes of absurdity, alienation, and the cruelty of power resonated with a generation grappling with the horrors of war and the rise of totalitarian regimes. 

Other themes of Kafka's work:

The role of females in the novella is to be a traditional housewife, particularly Mrs Samsa. In contrast, Mr Samsa insists he is the man of the house and yet he is not the bread winner. This is contradictory to the norm. This leads to a masculine insecurity evident within his character.

The theme of communication barriers coveys this (Gregor trying to speak to his family but not being able to). There is also a key theme of characters vs authority. His work is characterised by nightmarish settings in which characters are crushed by nonsensical, blind authority. 

Steven Berkoff + Context: 

Most of my context on Berkoff's life is on the Berkoff blog page but a quick summary, he was born on the 3rd August 1937 in Stephney, London. He too had a strained relationship with his father who wasn't around often. This is part of the reason why he wanted to adapt metamorphosis as he could relate to Gregor. 

Inspirations:

• Greek Theatre - . Berkoff often uses the chorus in a stylised sequence of movement, usually heightened both vocally and physically. Just like a traditional Greek chorus they reflect the mood of the story and express what the main characters cannot say. 
• Japanese Noh and Kabuki Theatre - The Kabuki concept of jo-ha-kyo is common in Berkoff's work. Scenes are done at a certain pace; the action is slow, speeds up and ends quickly. This Japanese concept governs actions of actors, structures of plays and scenes. To break it down further, jo is a slow and auspicious beginning (the way Berkoff often introduces character and plot), ha speeds events up (Berkoff often uses this and culminates the story with a moment of tragedy) and ku is a short, satisfying conclusion. Many of Berkoff's characters move on quickly after tragedy
• Shakespeare -  Berkoff's love of Shakespeare's work stems from his complex characterizations, especially the role of the protagonist. Berkoff has written his own interpretations of many famous texts and stories, few of which are not adaptations or are stimulated by existing writers.
• East End Music Hall - Berkoff grew up near the East End, his first ever play was inspired by 'fighting and jiving' which he saw in the East End.
• Jewish Heritage - Berkoff has explicitly identified with Franz Kafka and his characters, such as Gregor Samsa and Joseph K. He has also projected himself as a "Jewish outsider". Berkoff's early plays, such as East (1977), West (1985), and Decadence (1982), feature cockney rhyming slang and streetwise exchanges. These were inspired by his troubled adolescence in London's Jewish East End.
• Lecoq - Berkoff studied with Claude Chagrin, a pupil of Jacques Le Coq, and later briefly with Le Coq himself. This is where Berkoff's mime comes from. Miming has become a core part of Berkovian theatre. An extension to this is body-centred theatre - this is focusing on the relationship between movement and acting. This allowed Berkoff to be very creative in his acting.
• Stanislavski - Steven Berkoff's acting training mainly consisted of the Stanislavski method, using emotional truth, emotion memory and breaking down scenes into smaller goals to find truth and justification for getting from one scene to the next.
• Artaud - Artaud's main ideas include... Total theatre: A style that uses non-naturalistic and stylized techniques to tell a story without a set. Theatre of Cruelty: A concept that advocates for a theatre language that's a unique combination of thought and gesture. Physical expression: The belief that all theatre is a physical expression in space. Use of gesture and facial expression: The idea that gesture and facial expression can communicate more than words. Simultaneous action: The use of combined moments of calm and chaos to unsettle the audience. Berkoff was very adamant about making the audience feel uncomfortable when watching his performances and even the actor performing should feel somewhat awkward on stage.

• Brecht - Many Berkovian technique are inspired from Brecht. For example in order to distance the audience from the events of the play actors break the fourth wall, use asides and direct address to wake the audience up. The movement is very similar in the way that it is exaggerated. Berkoff has over the top mime and stylized movement and dancing to tell the story. The voice (pitch, pace, tone) is also very exaggerated, this is often specific to characters. When conveying emotions the pace, tone and body language associated with that emotion will be over the top. Fear = small, face paced, high pitch and shaky voice. Brecht used contradictions to create complex characters, and Berkoff often uses larger than life stereotypical characters. Brecht's work was intended to make the audience think, and Berkoff's work aims to give the audience an overwhelming experience.

All taken from the Berkoff blog page

Berkoff's Political Views:

Berkoff is a Marxist, this made it difficult for him to employed in major roles which is why he preferred to write his own characters. His political aims were essentially to avoid all mainstream themes and ideas: "it is when we look at those who appear to be on the margins of mainstream society that we see this struggle writ large".

Marxism - Marxism was developed in the 19th century by a German philosopher named Karl Marx. It is a social, economical and political philosophy. It is mostly about the battle between the working class and the ownership class. It favours socialism and communism over capitalism.

Marxism hypothesised that the struggle between capitalists and workers will inevitably lead to a communist rise up. There are the business owners and workers. Workers have little power and they are also readily replaceable. To maximise profits business owners have an incentive to pay workers less and get the most work out of them. Because workers have no personal stake in the production Karl Marx believed they would become alienated from it and their own humanity and turn against business owners. Finally this will lead to a revolution were capitalism is abolished.