Frankenstein: theatrical conventions of the period

Period Theatrical Conventions

The Gothic novel Frankenstein by Mary Shelley was written at the dawn of the 19th century, during the Romantic period.
The theatrical imagination, especially in the Romantic and Victorian periods, favoured grandeur, spectacle, and the fantastical, which would have influenced the initial stage adaptations of the novel.
The Gothic tradition in theatre was characterised by melodrama, incorporating elements of horror, suspense, and sentimentality.

Visual Elements and Staging

The tableaux vivant, a popular theatrical convention, might have been used in early performances, where a striking dramatic scene from the novel would have been re-enacted as a ‘living picture’ on stage.
Elaborate sets and scenery were characteristic of the period, capturing Gothic settings such as Victor Frankenstein’s laboratory and the expansive Arctic wasteland.
Period performances would also have utilised substantial stage machinery to achieve special effects, like the creation of the Creature, or dramatic setting transformations.

Language and Performance

The theatre of the period had a predilection for heightened language. Therefore, the dialogue in stage adaptations would have been written in a way that combined Shelley’s eloquent prose with this requirement, particularly for the Creature’s powerful speeches.
The emphasis on emotion in performance was a distinctive feature of Romantic theatre, in line with the key principles of Romanticism — individuality, subjectivity, and powerful feeling. This can be seen in the intense emotional journeys of both Frankenstein and the Creature.
The Creature’s on-stage depiction would adhere to the cultural idea of the monstrous ‘Other’, showcasing a synthesis of human traits and physical deformity, generating both sympathy and revulsion.

Use of Dramatic Devices

Romantic theatre was characterised by grand gestures and big climactic moments. Melodramatic elements, such as the Creature’s horrifying murder scenes, would have been exaggerated for dramatic effect.
The use of music and sound effects, such as tempestuous storm sounds during the creature’s creation, would have added depth to the terror and suspense of the story.

Candidates can examine the theatrical conventions of the period in which Frankenstein was written to gain insights into how the novel might have been dramatised initially. This understanding also provides a useful backdrop to interpret and critique more contemporary adaptations of the novel in theatre.