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Summary Metamorphosis A Level Revision notes A*
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- AQA
Providing in-depth notes that discuss the play Metamorphosis which includes: context, costume, characters, etc..
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Drama Revision BookExam
125 mins - mock
Section B: 30 marks each part worth 10 marks, spend 23 mins on each part (70 in
total)
Section C (Live Theatre) - choice of 4 question - 25 marks, 55 mins
Ppt - slides 25-31
● Novella written by Franz Kafka in 1915
● Play written by Steven Berkoff in 1976
● Naturalism – offshoot of realism which began in the 19th century – human character
formed by hereditary (inherited traits) and the environment
● Epic theatre – Political drama aiming to appeal to reason in the audience rather than
their emotions
● Realism – the faithful representation of life in literature and theatre
● Total Theatre – theatrical work which involves many varied aspects of performance
styles. Strongly visual, auditory and often devised, adapted or experimental
Berkoff background
● ‘If I have a trademark style, I suppose it’s about physicality, a simplicity of
communication both orally and physically. That’s very important’ - Steven Berkoff
● Steven Berkoff was born in Stepney, London in 1937, and is still an energised actor,
playwright and director
● Berkoff trained as an actor at the Webber Douglas Academy in London and studied
movement at the Ecole Internationale de Theatre de Jaques Lecoq in Paris. These
two disciplines are key to his creative work. He worked as a mime and physical
theatre practitioner at Webber Douglas
● Renowned for heightened physical theatre
● Often the biggest student misconception about Berkoff’s style seems to be that it
involves shouting, the use of bad language and big facial expressions without any
truth in physicality or performance. The need to impersonate the actor Steven Berkoff
should be avoided. He is unique.
● Strained relationship with his father
● As an actor, director and playwright and general non-conformist, Berkoff wanted to
shake naturalistic theatre and encourage experiment using the idea of 'Total Theatre’.
● ‘Total theatre i s a use of the imagination. Actors express the genius of the body.
Express the story without a set’
● Coming from a working class background he provided a new and unique perspective
through his theatre
● Berkoff uses self-revelation, almost confrontation, of fears and uncomfortable truths
about human nature and sexuality
● Loneliness, frustration with capitalism, corruption of the upper classes greed and
alienation is a common theme - some understanding of his physical, aggressive and
presentational approach to theatre
, ● Berkoff tells stories in a poetic and heightened way, both vocally and physically using
minimal set and a non- naturalistic style with lighting and music.
● Characters use a mix of poetic language, sometimes Shakespearean, often vulgar
and muscular, almost physical. Imagine throwing their words out into the air.
● Berkoff’s work is influenced by Greek theatre, Japanese Noh and Kabuki,
Shakespeare, East End music hall and his Jewish heritage, as well as using the
techniques of practitioners like Artaud and Brecht.
Main influence
● LeCoq - theories of mime, movement, masks and ensemble by using performers to
create the environment
● Artaud’s theatre of cruelty by asking actors to bare their thoughts as if they were
human sacrifices to create ritualistic theatre
● Brechtian Epic Theatre by using actors to represent characters rather than become
them
Total Theatre is a mix of:
● Epic Theatre (Brecht) - Teaching a message didactic theatre, theories of Gestus
● Greet Theatre - chorus, unison, over exaggeration, big movements
● Berkoff’s own mix - use of body, caricatures
● Theatre of Cruelty (Artaud) - loud sounds, harsh and gritty, images, use of metaphors
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