• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Language in metamorphosis

Extracts from this document...


Language in Metamorphosis Language is very important in metamorphosis and in Steven Berkoff's adaptation; he uses a variety of techniques. The first is simple language, by using ordinary conversations between the family placed in unusual situations, Berkoff is able to create a strange experience for the audience "There's brother Gregor" "Isn't it nice that she always waits up for me" The use of short sentences by the characters and simple vocabulary used, compliment Berkoff's choice of minimalist set, costume and scenery, giving focal point to the themes and sending messages of the subplots to the audience, so that they are more evident and reasonable to the audience. At the same time, a range of stylized speech patterns are used, the natural and mechanical speech placed side by side removes all naturalism. ...read more.


In the play, Berkoff continues to destroy the naturalism by the use of the third person. In doing this, he blocks the communication between the characters, the audience then views this from a perspective that is not directly from a particular character. This way they can form their own opinions. "As Gregor Samsa awoke one morning from uneasy dreams" "He found himself transformed into a gigantic insect" "His numerous legs, which were pitifully, thin..." Another technique used in the play, through means of language, is the use of direct address. This appears in individual speeches, called soliloquies. Unlike in the use of the 'third person', the audience is able to emphasise and feel sympathy or shock in response to the words delivered by a particular character. It is also at a time when the audience is most vulnerable, for example at the start of the play, and allows them therefore to gain these reactions. ...read more.


This also emphasizes the issue of time, which is used throughout the play, and once again, this exemplifies the isolation and loneliness he feels. Near the start of the play, the family mechanically symbolises their domestic life in time to the ticking. In the stage directions, they are described as 'wax works', perhaps to suggest that they have no purpose but to throw orders at Gregor. The use of rhythm and repetition of the word 'Gregor' allows language to exist in a variety of monotonous orders and needs. The family call what Gregor means to them. "Gregor" "Cash" Gregor" "Shoes" In this, the family let out their feelings in short words at one point. Perhaps a sign of desperation, telling us what Gregor means to them and why they cant lose him as if they were to lose him; they would lose all of the luxuries or necessities in life. ?? ?? ?? ?? Oliver Slark 1 of 2 ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Theatre Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Theatre Studies essays

  1. Peer reviewed

    A Doll's House - Language

    5 star(s)

    Demoting her to a lifeless, "miserable creature", he patronises Nora, resulting in her feeling inferior, and he keeps control. His pet names become more and more unpleasant as the play progresses, and towards the end, he calls her a "blind, foolish woman", and "a heedless child".

  2. Shirley valentine use of language

    insecurities, she seeks reassurance from a wall to assure herself that she's telling her tale accurately, phrases such as 'aren't I wall?' 'Didn't I wall?' though in the second act she is angered by Jane treating her as a '50 year old pensioner or a 5 year old child' such

  1. Analysis of Use of Language in 'The Crucible'

    that she is a 'fat, sly, merciless girl of eighteen' not only does this explain to the reader the appearance and main characteristic of the servant, it also aids the actor playing that part on how Miller would want her personality and physical appearance to be portrayed when acting the play.

  2. Metamorphosis - Language

    His language changes as the play goes on, he becomes more calm and speaks in full sentences rather than missing bits out. Gregor: I can hear you! You think I can't understand you - simply because you can't understand me, but I can, I can - I can hear every sound you make, every moan.

  1. Visual Aural Spatial Elements of the play East by Steven Berkoff

    Another form of lighting I would use is the uplight, the uplight works well to create a silhouette type effect, in class we found that this particularly worked well in the fight scenes, as it really creates a fight like atmosphere and exaggerates the movements; also in the cinema scene,

  2. Drama - Response Phase to the unit on war.

    The son is young and naive and does not understand the significance of the mater. All he thinks is that war is fun. I felt that our performance went very well, we used our rehearsal time well, and because there were only two of us, there were no communication problems.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work