Metamorphosis (Steven Berkoff)

This section explores the play Metamorphosis by Steven Berkoff, focusing on: the structure, setting, staging, characters, themes and the historical and cultural context of the play. Metamorphosis is a theatrical adaptation by Steven Berkoff of Franz Kafka’s novella of the same name, first published in 1915. Berkoff’s interpretation, written in 1969, presents the story in a highly stylised and physical manner, using minimalist staging, exaggerated physicality, and vocal delivery to heighten the play’s absurdity and existential themes. The plot centres on Gregor Samsa, who wakes up one morning to find himself transformed into a giant insect. This surreal premise serves as an allegory for alienation, identity crisis, and the dehumanising effects of modern life.

Structure of Metamorphosis

• Linear but Distorted Narrative: The play largely follows the structure of Kafka’s original novella but presents it in a fragmented and highly stylised manner. The story progresses in a linear fashion, but the events are heightened through physical and vocal performances, with exaggerated movements and sounds. There are moments where the plot is disrupted for effect, with the emphasis placed on the characters’ emotional responses to Gregor’s transformation rather than the specifics of the narrative.
• Short and Intense: Unlike some traditional plays, Metamorphosis is short in duration and very intense. It is typically performed in one act, with a fast-paced, almost relentless progression from Gregor’s initial transformation to his tragic end. The shortness of the play makes it more immediate, with little room for digression, reflecting the urgency and shock of Gregor’s new existence.
• Absurdism and Physicality: The structure places a strong emphasis on physical theatre and exaggerated action, so the narrative is often conveyed through the body language and movement of the actors. The grotesque physicality of Gregor’s transformation is central to the play, with the character’s movement, posture, and gestures often exaggerated to evoke the sense of alienation and loss of humanity.
• Use of Monologues and Breaking the Fourth Wall: In keeping with Berkoff's style, there are moments when characters speak directly to the audience, heightening the sense of isolation and disorientation felt by Gregor. These moments help create a sense of estrangement from reality, emphasising the play’s absurdist nature.

Setting and Staging

• Minimalist Setting: The set in Metamorphosis is often sparse, with few props or pieces of furniture. The minimalist approach reflects the stark, cold nature of Gregor’s new life and the modern, dehumanised world in which he lives. The setting may feature a simple bed, a few domestic objects, and perhaps a door to Gregor's room, which becomes a focal point for both physical and emotional barriers.
• Use of Space: The physical space is used in a highly symbolic way. Gregor’s room can be seen as both his physical and psychological prison. The actor playing Gregor often occupies the space in a contorted, unnatural way, using exaggerated movements to convey his transformation. The cramped, suffocating environment enhances the play’s themes of entrapment and alienation.
• Staging Techniques: Berkoff’s staging is influenced by his background in physical theatre, and much of the performance revolves around intense physicality and stylised movement. The actor playing Gregor may use contorted body positions, crawling or twitching movements to convey his insect-like transformation. The other characters, often portrayed in an exaggerated manner, contrast with Gregor’s disfigurement, emphasising their sense of superiority and alienation from him.
• Minimalist Costumes: The costumes are often minimal and symbolic, with Gregor’s transformation conveyed through simple physical changes, such as the actor’s posture, movement, or the addition of a mask or a costume piece that suggests an insect-like appearance. This contrasts with the everyday clothing of the other characters, highlighting their normality and Gregor's otherness.
• Sound and Lighting: Berkoff uses sound and lighting to accentuate the play’s themes of alienation and absurdity. Lighting may be harsh or stark, casting long shadows to create a sense of unease. The sound design might include mechanical noises or dissonant, discordant sounds that reflect the inner turmoil of Gregor’s mind and the dehumanising nature of his transformation.

Historical and Cultural Context

• Kafka’s Original Work: The original novella, written by Franz Kafka in 1912-13 and published in 1915, explores themes of alienation, the absurdity of modern life, and the breakdown of the individual in the face of societal pressures. Kafka’s works, including Metamorphosis, reflect his personal sense of isolation, existential anxiety, and critique of the bureaucratic, capitalist society of the early 20th century.
• 1960s and 1970s British Theatre: Berkoff’s adaptation emerged during a period of experimentation in British theatre. The late 1960s and 1970s saw a shift towards more avant-garde, physical, and stylised theatre practices. Directors and playwrights like Peter Brook and companies like the Royal Court Theatre embraced new forms of expression that pushed the boundaries of traditional realism. Berkoff’s use of physical theatre, mime, and absurdism reflects this broader trend towards innovation in the arts.
• Absurdism and Existentialism: Metamorphosis reflects the existential and absurdist influences of the time. The play shares themes with the works of writers like Samuel Beckett and Eugène Ionesco, who also explored the absurdity of human existence, alienation, and the struggle for meaning in a world that seems indifferent or even hostile. The 1960s and 1970s were also a period when existentialist philosophy, particularly the works of Jean-Paul Sartre and Albert Camus, gained popularity, and Metamorphosis fits within this tradition by questioning the meaning of life and the human condition.
• Dehumanisation in Modern Society: Berkoff’s Metamorphosis critiques the dehumanising effects of modern life, especially in terms of work, family expectations, and social isolation. Gregor’s transformation into an insect can be seen as a metaphor for the way individuals feel reduced to mere cogs in the machine of society, alienated from their true selves. This was a common critique in post-war literature and theatre, reflecting widespread anxiety about the loss of individual identity in the face of technological advancement and societal conformity.

Characters in Metamorphosis

• Gregor Samsa: Gregor is the protagonist of the play, and his transformation into a giant insect serves as the central event. Initially, Gregor is depicted as an overworked and self-sacrificing figure, supporting his family through his job as a travelling salesman. His transformation represents the ultimate expression of alienation, as he is physically and emotionally cut off from his family and society. As the play progresses, Gregor’s increasing physical deterioration parallels his emotional and psychological breakdown, culminating in his tragic end. The character is often portrayed in a highly physical manner, with the actor using contorted movement to convey Gregor’s insect-like form.
• Grete Samsa: Gregor’s sister, Grete, initially cares for him after his transformation. At first, she is sympathetic and offers him food, but as time passes, her attitude shifts. Grete becomes increasingly frustrated with Gregor’s condition and begins to see him more as a burden than a family member. Her eventual rejection of Gregor highlights the theme of alienation, as she becomes less human in her treatment of him. Grete’s character is often portrayed with a mixture of compassion and cold practicality.
• Mr. and Mrs. Samsa: Gregor’s parents, Mr. and Mrs. Samsa, represent the societal expectations and pressures that Gregor faces. Initially, Mr. Samsa is depicted as a frail and passive figure, but over time, he becomes more hostile towards Gregor. Mrs. Samsa, while initially more nurturing, becomes increasingly unable to cope with the reality of Gregor’s condition, retreating into a state of denial. Both characters illustrate the breakdown of family unity when faced with crisis and the inability to understand Gregor’s predicament.
• The Lodger: In some versions of the play, the Samsa family takes in a lodger, who represents the outside world’s intrusion into their domestic life. The lodger’s presence exacerbates the family’s tensions and provides a stark contrast to Gregor’s isolation. The lodger serves as a symbol of societal norms and expectations, further alienating Gregor from the rest of the world.

Themes in Metamorphosis

• Alienation and Isolation: The central theme of Metamorphosis is alienation. Gregor’s transformation into an insect marks his total separation from his family and society. His inability to communicate with those around him symbolises the breakdown of human connection in the modern world. His family’s gradual rejection of him mirrors the way society alienates individuals who do not conform to expected roles.
• Dehumanisation and Identity: Gregor’s transformation can be seen as a metaphor for the dehumanising effects of modern life, particularly the demands of work and societal expectations. As Gregor’s physical appearance changes, he also loses his sense of self, becoming a mere object for his family’s survival rather than a human being with desires and needs. The play explores how external pressures can strip individuals of their humanity, leaving them feeling like mere shells of themselves.
• Family and Responsibility: The theme of familial duty and responsibility is explored through Gregor’s role as the primary breadwinner for his family. However, after his transformation, his family’s response shifts from dependence to resentment. The play critiques the ways in which family members may exploit each other’s sacrifices, and how familial love can be conditional.
• The Absurdity of Life: The absurdity of Gregor’s situation is at the heart of the play. His inexplicable transformation into an insect reflects the irrational and senseless nature of life, a hallmark of absurdist theatre. The characters’ inability to fully comprehend or cope with the transformation underscores the meaninglessness and arbitrary nature of existence.
• Escape and Repression: Throughout the play, Gregor is trapped, both physically in his transformed body and psychologically by his family’s expectations. His attempts to escape are futile, and his eventual death is the final form of release. His family, on the other hand, is also trapped in their own repressive roles and emotions, unable to break free from the cycle of alienation and neglect.

Summary

Steven Berkoff's Metamorphosis is a bold and innovative adaptation of Kafka's original novella, reflecting the anxieties and alienation of modern life through physical theatre and stylised performance. The minimalist set and intense physicality of the actors heighten the play's themes of isolation, dehumanisation, and the absurdity of existence. By emphasising the grotesque and surreal nature of Gregor’s transformation, Berkoff crafts a powerful critique of societal pressures and familial dysfunction. Through its absurdist style and focus on physical expression, the play challenges the audience to confront the alienating forces at play in contemporary life.