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Frankenstein a Resource for Teachers English Literature Frankenstein A resource for teachers Frankenstein A resource for teachers 1 Contents 2 Guidelines for teachers 3 Teaching ideas 4 Background 5 Characters 5 Behind the scenes 6 Excerpts 8 Interview 9 OperaVision 9 La Monnie Photo credits Cover, inside cover, pages 2, 5, 6, 7 © La Monnaie Page 4 © Moviestore Collection; © Bauman Rare Books Cover Image: Act I set of Frankenstein Page 6 © Simon van Rompay Left: Chorus in Act I of Frankenstein Page 9 © Royal College of Music; © Philippe De Gobert 2 OperaVision Guidelines for teachers Frankenstein is one of the great The pack contains teaching ideas, a background works of English literature. First pub- to the novel and opera, an interview with bari- tone Scott Hendricks and excerpts from chap- lished in 1818, Mary Shelley’s novel ters 23 and 24. broke new ground and helped to define the form of modern science The opera Frankenstein is a new opera composed by Mark fiction. Its obsessive scientist and his Grey and produced by La Monnaie / De Munt. hideous monster have appeared in It received its world premiere in Brussels on 8 dozens of stage and screen adapta- March 2019. A subsequent performance was tions, from Richard Brinsley Peake’s streamed live on OperaVision on 15 March 2019. 1823 play to James Whale’s 1931 film Contextual videos staring Boris Karloff, to Mark Grey’s As showing the full performance in class may 2019 opera. be impractical, this pack instead suggests three short-form videos to illustrate the opera. They are: ‘Let us begin’, a scene from Act I; a For pupils studying the novel, these adaptations timelapse makeup video; and ‘Lifeless, inani- can breathe life into the text and help them to mate’, an aria from Act II. better engage with the subject. It also gives them an opportunity to see how Frankenstein These three videos can be found on the video continues to inspire new creations that provide slider on the Frankenstein page at www.bit.ly/ work for hundreds of people and pleasure to FrankensteinEN and are available until at least thousands. October 2020. Alternatively, you can find ‘Let us begin’ at bit.ly/Let-us-begin; the timelapse video This pack at bit.ly/Frankenstein-Timelapse; and ‘Lifeless, This resource for teachers has been produced inanimate’ at bit.ly/Frankenstein-Lifeless. by OperaVision with content provided by La Monnaie / De Munt. We hope that it will prove Contact us useful for English literature teachers around the For more information about Frankenstein or world who want to use a contemporary opera OperaVision, or to provide feedback about this adaptation of Mary Shelley’s novel to help their pack, please contact Hedd Thomas at hedd@ students to engage more with the text. opera-europa.org. Topi Lehtipuu as the Creature in Act II of Frankenstein Frankenstein A resource for teachers 3 Teaching ideas Exploring opera Exploring the drama Start with activities to get your class thinking Opera combines text, music, song and staging about opera and what their ideas and pre- to create emotional and thought-provoking conceptions might be. Ask your students: works of drama. Ask your students: • Can they describe what an opera is? • What is the most dramatic moment in Mary • Can they name any operas? Shelley’s Frankenstein? • Where are operas performed? • What are the different characters feeling in that moment? • Who is involved in making an opera? • How would the music and sinigng sound if that moment appeared in an opera? Exploring the background As a class, read the ‘Background’ text on page Exploring the text and music 4, then watch the scene from Act I of the opera, ‘Let us begin’. Ask your students: As a class, read the excerpts from chapters 23 and 24 of the novel on pages 6 and 7, then • How technologically advanced was European watch Victor Frankenstein’s aria ‘Lifeless, society in 1818? Inanimate’. Ask your students: • Do new technologies and scientific • How does the aria make them feel? discoveries lead to mostly positive or mostly negative outcomes? • How has the librettist adapted Mary Shelley’s words into text for the singer to sing? • When reading Frankenstein today, does the novel feel futuristic or old fashioned? • How has the composer used music to create a sense of sadness and loss? • In the year 354 of the New Anthropogenic Glacial Period, it is possible to return frozen • How is the drama and emotion of the music a mind and body to consciousness. Will complemented by the staging? we have the capabilities in our lifetimes to achieve this? Will it be a good thing? Exploring the creators • How does the character of Dr Walton in the As a class, read the interview with Scott opera compare to that of the novel? Hendricks on page 8. Ask your students: • How would they describe the life of a Exploring the characters professional opera singer? As a class, read the ‘Characters’ and ‘Behind • Have they ever thought about working in the the scenes’ texts on page 5, then watch the world of opera? timelapse video. Ask your students: • Who in the class would they like to • How closely does the Creature’s costume collaborate with on a creative project and resemble how the character is described in how would they go about it? the novel? • How does the Creature’s appearance affect Reflecting on the experience the way it feels and the choices it makes? After watching part of the opera and engaging • What is the Creature’s relationship with with the above questions, ask your students: Victor Frankenstein, Elizabeth Lavenza and • Has this experience changed their perception Dr Robert Walton? of what opera is? • Do they feel like watching the whole opera? • Has it given them new insights into Mary Shelley’s novel? • What opera do they want to explore next? 4 OperaVision Background A modern Prometheus Frankenstein - considered by some to be the very first science-fiction novel - was published in 1818, two years after Mary Shelley hit upon the idea for it while staying with Lord Byron near Lake Geneva. Interpellated by the technological and scientific developments of her time and their unforeseeable consequences for man and socie- ty, she wrote her own ‘what if’ scenario. And, as The first page of Mary Shelley’s novel in all good science fiction, that scenario goes be- yond futuristic speculative fiction.Frankenstein touches on essential philosophical and ethical questions which, transposed to the present day, apply equally to creative experiments in biotech- The first page of Mary Shelley’s novel nology, genetics, information science and medi- cine. At a time of atom bombs, genetic engineer- An international creative team ing, artificial bio-selection and social media, the The idea of creating an opera to mark the gap between our ability to invent and our inabil- two-hundredth anniversary of Mary Shelley’s ity to understand could be even greater than in novel Frankenstein; or The Modern Prometheus Shelley’s time. The need is greater than ever to came up in a conversation between Spanish experience a moral and emotional awareness in stage director Àlex Ollé and the director of La parallel with what we have just created. Monnaie / De Munt, Peter de Caluwe. They turned to American composer and sound de- signer Mark Grey to write the music. Grey’s musical writing is based on a very inventive ‘recomposition’ of diverse musical material: old or romantic music, industrial noise, elec- tro-acoustic sounds, and the harmonic language of John Adams and Aaron Copland. When com- bined together, these different elements produce powerfully emotional music in which moments of intense energy are interspersed with calm medi- tation. Grey and Ollé asked librettist Júlia Canosa i Serra to turn the novel into a stage play and to update Shelley’s poetic English. A frozen future The opera Frankenstein is not a simple retelling of Shelley’s novel. Instead, it is set in an unspec- ified future after the events of the story. Several scientists discover a creature frozen into the ice fields in the year 354 of the New Anthropogenic Glacial Period. One of them, Dr Walton, takes the lead in bringing him back to life in a bold exper- iment. Gradually the ‘Creature’ returns to con- sciousness. Snatches from a murky past surface and, with the help of high-tech equipment, the scientists also succeed in visualising those men- tal images. The crucial scenes from what took place so many years ago (i.e. the action of the The Creature and Dr Walton in Act II of Frankenstein novel) manifest themselves in flashbacks. Frankenstein A resource for teachers 5 Characters Victor Frankenstein Baritone An ambitious scientist The Creature Tenor A monster made by Victor in his laboratory Elizabeth Lavenza Soprano Victor’s bride Dr Robert Walton Bass-Baritone A scientist from the future The Creature (Topi Lehtipuu) Victor Frankenstein (Scott Hendricks) and Dr Robert Walton (Andrew Schroeder) and Elizabeth Lavenza (Eleonore Marguerre) Behind the scenes As well as all the musicians, singers and the conductor that you see in the pit and on the stage, large teams of technicians, craftspeople and administrators work together in order to put a full scale opera on the stage. These include designers; scenery builders, carpenters and painters; electricians; sound and lighting technicians; drivers; costume makers; wig makers; milliners, who make hats and headdresses; hair and make-up artists; prop makers; directors; assistants and stage managers. Finnish tenor Topi Lehtipuu had to spend two hours in his dressing room before every performance of Frankenstein while a team of make-up artists prepared him to perform the role of the Creature.
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