The Metamorphosis

About Metamorphosis

• Physical theatre: there is emphasis on physicality telling the story rather than the script, using mime and stylised techniques show Gregor's internal struggle, with the physical movements relating to the movements of insects creating unease
• Minimalist set and props: there is few props to heighten the emotional intensity, the use of shadow are used to create an atmosphere of depression
• Berkoff created a deeper sense of isolation, highlighting his family's reactions
• Unlike some other versions, Gregor is not costumed in a bug outfit, but being a bug in other physical ways

Expressionism and stylisation

Berkoff rooted this novella in expressionism, emphasising exaggerated emotions and physical expression, highlighting the extreme experience and transformation as well as the rejection from his family. These elements were used to amplify the horror of the transformation. An atmosphere of discomfort is created through the actors' facial expressions, robotic movements, and vocal tones. Hostility is also exaggerated from the family showing the disconnection between Gregor and the rest of the world, creating a sense of breakdown in communication and isolation.

• Physicality and movement played a big part in showing the true emotions of Gregor and his family, conveying the grotesque and unnatural nature of Gregor's transformation. He did this by relying on elaborate special effects or props and instead using stylised movements to portray the insect form of Gregor. This is usually done by a use of contorted postures, normally on the floor, using sharp, jerky movements. There is also a use of exaggerated gestures to emphasise the emotional extremes that are experienced by the characters. Some of these techniques are like freezing in place, grand gestures, or adopting stereotypical gestures for that character which are immediately associated with them.
• The use of space and props are unique, some of these techniques are; the proxemics between Gregor and the characters, often separated or positioned at extreme angles to one another, showing the excess of space the other characters have compared to Gregor in a cage for the most part of the play. When props are used, they tend to be abstract and symbolic, which is purposefully done to bring attention to the important props which tell the story, eliminating distractions of the props to create a more realistic set.

Monologues and Dialogue

Berkoff leans towards monologues and dialogue, to further isolate Gregor from his family and the rest of the world. 

Berkoff used monologues to create an anguished atmosphere to capture his shock and frustration. This is because he has no means of communication with his family, so the monologues allow the audience to connect with Gregor's inner world, almost experiencing his fear of isolation and loss of humanity, showing the intensity of his mental suffering. In a similar way, the monologues from his family members express the ever changing reactions towards Gregor, being more detached showing the growing hostility towards him from his family.

Dialogue is also used to convey power dynamics, developing the themes of alienation through Gregor being a spectator upon the  countless conversations between his family about the resentment for him, or forgetting that he is alive. The further breaking down of communication between Gregor and his family is reflected by the stark, minimal, and fragmented means of dialogue, further developing the themes of dehumanisation and alienation.

Berkoff also blurs the line between understanding between each side of the play, Gregor an his family, as it isn't always specified if the family has heard him as the creature or not. Gregor at first thinks he is able to speak to them, telling them he is feeling rather ill, but later Greta talks about how if he could communicate with them, it is her brother, but he can't so it isn't. This further elevates the alienation and resentment between Gregor and the rest of the world.