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Delacey In Frankenstein

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Consider the role that the narrative/performance have in the questioning the true nature and real origin of the monstrous within the National Theatre’s 2011 production of Frankenstein.
How?
Dear’s narrative approach will be explored in relation to the problematizing and redefining of the monstrous; the shifting of the perspective to the created creature rather than that of the creator and the subsequent effects this has on an audience’s perception. The impact of the performance approach taken will also be considered: how the actors shared body of Frankenstein and his creature, the result of their alternating both roles, raises further questions creating various and yet carbon copies of the monstrous. The focus of this analysis …show more content…
As their relationship evolves across scenes 14 to 18 (it is interesting to note that Delacey’s character is blind, his not having to address the Creatures physical appearance perhaps being a reason why this relationship is allowed to develop further than the initial meeting) we see the Creature progress not only in the acquisition of language but also in his comprehension.
Through DeLacey’s teachings and the passing of time the Creature develops from scrawling single letters and learning the simple breakdown of sounds in Scene 14, to discussing Plutarch’s ’The Lives of the Emperors’ and delivering sections of Milton’s ‘The Wakeful Nightingale’ in Scene 18. Here the Creature shows a real increase his understanding, even reflecting on what he has …show more content…
‘Because with all that I read, all that I learn I discover how much I do not know. Ideas batter me like hailstones. Questions but no answers. Who am I?’(Dear 2011)
In this the Monster/Creator dynamic begins to arise, Frankenstein builds the Creature as a scientific experiment however rejects his creation upon first sight and neglects to provide his creation with any self-awareness. This is something that the Creature, in his new found understanding, is seen to attempt to construct for himself.
The definition of what makes the monstrous is brought to the forefront of the action in Scene 24, Victor and the Creatures meeting on Mont Blanc. The conversation between the two as they both present their reasoned arguments further blurs the line between the monster and his creator. No longer unable to communicate, the Creature talks eloquently and equally with Victor who is amazed, to find his experiment with muscular coordination, to be educated, to have opinions and to possess memory.
‘Victor: That’s Paradise Lost? You’ve read Paradise

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