A number of presentations in this
month’s London International Mime Festival (such as the diverting
Leo and the compellingly inventive
Plan B) play games with our sense
of perspective by staging physical work at 90 degrees to our usual set
of dimensions. It is a propitious time, then, to compare a piece in
which this technique is deployed to a particular theatrical goal rather
than as an end in itself. David Farr and Gísli Örn Garðarsson’s
adaptation of Franz Kafka’s short story was first staged here in 2006
and is now revived to (belatedly) commemorate the centenary of the
story’s composition. In Farr and Gísli’s staging, directly above the
living room of the Samsa family apartment is Gregor’s room, but set at
right angles to our normal geometry: we first see Gregor in a vertical
bed, before he scuttles across his floor/our wall. This is the core of
Gísli’s portrayal of Gregor’s transformation into an enormous insect:
he does not attempt to carry himself in a supposedly insect manner,
rather he negotiates the space in unfamiliar ways and at odd angles as
if having to re-learn how to move at all.
On the production’s première, I had found it odd that this version not
only jettisoned Kafka’s famous opening line, but that it at no point
made explicit the nature of Gregor’s change. On re-watching, I realise
that this non-specificity serves both to emphasise the family’s
responses over the nature of Gregor’s own privations, and also to enact
the character of those responses, which are alternately denial and
ignorant hostility. Particularly poignant is the draining away of the
sympathy initially felt by Gregor’s younger sister Greta (played by
Gísli’s wife Nina Dögg Filippusdóttir), while his father (Ingvar E.
Sigurðsson) increasingly adopts the rigid status-consciousness of
Germanic society of the time, and his mother (Kelly Hunter) seems
gradually to flake away. The adapters have emphasised the parabolic
nature of the story, and in particular its socio-political dimension,
without being so crass as to turn it into, say, an analogy for an
ignorant country ignoring the reality of its problems in favour of
extremism. The coda, when Nick Cave and Warren Ellis’s loop-based score
breaks into a quiet rhapsody as the family relax above Gregor’s
dangling, dead body, is heartbreaking.
Written for the Financial
Times.