"Contrary to what mainstream science might argue, imagination is a major component of scientific rationality” rosi braidotti

For the first time, OHT confronts a classic of Western literature; Frankenstein or the modern Prometheus. Written by an author still in her teens with the intention of instilling fear, Mary Shelley's masterpiece anticipates contemporary climate anxiety, giving rise to a new literary genre; the science fiction horror. Published just after the most powerful volcanic eruption ever recorded by mankind, Frankenstein is not only a contemporary icon but, first and foremost, a reaction to the climatic anomaly caused by Indonesia's Tambora volcano. For climatologists, the eruption provoked the Year-Without-Summer; a dystopian period due to the sulphurous fog that obscured the stratosphere and turned the sky yellowish, lowered temperatures, and caused violent and continuous thunderstorms with considerable damage to agriculture and subsequent famine in Europe, North America and Asia. It was 1816 and in that atmosphere Mary Shelley wrote Frankenstein.

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Surprisingly close to the political overtones of OHT's research, Frankenstein is a myth in which the outer landscapes blend with the inner ones. The precipices of Mont Blanc become intimate and personal vertigoes in the encounter between the monster and his creator; inaccessible places such as the Alps and Antarctica become a crucial refuge for an elusive creature, who learns to know himself through the natural phenomena that occur in those places. The demon and these landscapes become one, while Victor Frankenstein no longer seems in control of his surroundings. The radical nature of Shelley's work materialises in the emancipation of the creature. Unexpectedly, Frankenstein revels itself as one of the most vehement and contemporary coming-of-age novels.

Stuck within the limits of cultural taxonomy, the more-than-human being par excellence of Western literature has not had a reading detached from the context in which it has been interpreted. A limitation that, paradoxically, has imprisoned the book in its imaginary, in the laces of an interpretation harnessed by the vision of so-called "normal / natural" readers. The interpretation of Frankenstein [who is actually the creator and not the creature as we tend to believe] has always prevailed over that of the monster, even though the emotional-neurological-literary heart of the book lies in the creature's learning process of itself, of the language and of the world. It is from this leftover, from this exclusion, that OHT's work is born; for the first time it is the monster that speaks, and he takes the floor not as an excluded person but as the creator of our imaginary, as one of our fellow citizens, as one of our monstrous peers. At last, the monster is reborn, revealing himself as a new-born child of Western literature, an infant whose first colours appear, whose shapes acquire volume, whose hands begin to grasp, whose throat and lips - until then only capable of guttural cries - articulate its first words. A monstrous rebirth that evades literary boundaries, creating a new imagery:

"And now, once again, I command my horrible progeny to go forth and prosper” Mary Shelley

Starting from the impossibility of covering all the ramifications contained in Mary Shelley's story, OHT's new production takes from Dr. Frankenstein's experiment by confronting it to the origin of theatrical experimentation: rehearsals. As the monster is an assemblage of different pieces, OHT makes partial and vertical lunges into the text, without limits of form, language or duration. In doing so, the project borrows the obscenity of Frankenstein and becomes an assemblage of prematurely abandoned experiments, a deformed amalgamation of raw material. Theatrical fragments that, showing their inadequacy, trigger the same short-circuit at the origin of the demon, inviting us to adopt unknown criteria, to come to terms with what is punctually omitted from the stage: the obscene.



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performance by Office for a Human Theatre

> directing and set Filippo Andreatta
> sound and music Davide Tomat
> performer Silvia Costa, Stina Fors
> assistant directing Veronica Franchi
> light Andrea Sanson
> stage manager Cosimo Ferrigolo
> costume Lucia Gallone
> stage sculpture and automation Plastikart Studio
 wax bust and masks Nadia Simeonkova
> painted backdrop Paolino Libralato
> technician Orlando Cainelli
> tech-internship Rebecca Quintavalle
> administration Lucrezia Stenico

> production OHT
> co-production TPE Teatro Piemonte Europa, Snaporazverein (CH)
> artistic residence Centrale Fies
> supported by Provincia Autonoma di Trento, Fondazione Caritro di Trento e Rovereto

> OHT is associated to CSC S.Chiara di Trento

production history

17.VI.22 > Centrale Fies, Dro > reading session
26.VIII.22 > Opera Estate, Bassano > reading session
> Teatro Astra, Torino > premiere

9-10-11-12.II.23 > Teatro Astra, Torino > replica
31.III-01.IV.23 > Teatro Sambapolis, Trento > replica