“Frankenstein”: Awe of Ethics, May Life Be Soft and Strong

  Adapted and directed by British director Daniel Goldman, the stage play “Frankenstein” starring actor Zhai Tianlin and Wu Haochen premiered on December 24, 2019 in the Beijing Middle Theater. Zhai Tianlin plays the scientist Victor Frankenstein in the play, and Wu Haochen plays the monster.
  ”Frankenstein-The Story of Modern Prometheus” is a novel written by British writer Mary Shelley in 1818. As early as 2012, director Danny Boyle moved the story to the British National Theatre. This Chinese version of “Frankenstein” was jointly created and launched by Chinese and British dramatists, and is a discussion and dialogue between the dramatists of the two countries on death and rebirth.
  The Chinese version of “Frankenstein” has adapted the plot to a certain extent on the basis of respecting the original work. In order to be closer to the audience, the timing of the story has been adjusted to modern times. In addition to retaining the names of foreigners in the play, the concept of Chinese and Western is played down as much as possible. The narrative environment of the story is set in the context of the trial of the inspector and police officer against the monster maker Victor, and the whole story is elicited in the police inquiry. The whole series ends when the monster really wants to confront Victor.
  The monster is made up of seven or eight dead bodies from different body parts. In the English version of the work, the monster’s brain comes from a fierce criminal, so he is naturally brutal and violent. However, should such a monster be “evil”? In response to this problem, the creators of the Chinese version of “Frankenstein” had a completely new thinking. The play did not specifically emphasize the source of the dead body. When starring Wu Haochen in the role of monster, he added a little human touch to it. Although it cannot be attributed to humans, it is still a living body, thinking, perceiving, happy, happy, and Crying will hurt.
  The cabin in the play provides monsters with an environment to learn to love and understand love, which is the warmest part of the whole story. Whenever the blind girl’s piano sounded, tears would cover the eyes of the monster. The audience sitting under the stage could feel the unspeakable happiness filled with the monster’s heart from afar, its whole body was covered with a soft halo— This is probably the only happy time in its life.
  Leaving the good blind girl, people are scared by the monster’s strange appearance and manners. They hate, repel, and avoid the monster. And this bleak and helpless experience makes it deeply realize how much it desires to be loved. So, it returned to the scientist Victor who created it, and he hoped that the “father” would create a lover for himself. This plea also became the most heart-wrenching sentence of the whole drama: “You made me the saddest one in the world, and you can also make me the happiest.” The
  monster was kind-hearted at first, it Although it has the physique of an adult, the mind is as simple as a baby. In its attempt to complete socialization, it has been expelled, attacked, and abused countless times… Humans are judged by their appearance and fear of ugliness, reflected on the monster. It did nothing wrong in itself. After guilt and tolerance did not work, it spawned its fears and hatred, making it a cruel and brutal real monster. The story that happened to the monster is regrettable, and also makes the audience resonate more.
  Wu Haochen, who plays the monster, has great body language. After waking up, the monster wriggled and crawled on the cold ground, twisted and twitched its limbs, and learned to stand like a newborn foal. Wu Haochen’s sense of proportion in this scene is very good, and he can switch freely in different states of the monster.

  In addition to the romantic and happy cabins, the attachment relationship between the monster and its creator Victor is also very intriguing. They are not related by blood, but Victor created monsters, and there are inextricable bonds between them.
  The monster has a difficult growth process, standing difficult, pronunciation hard… The audience followed Victor witnessed every progress of the monster. That feeling is like a father watching children grow up. Victor holds the monster in his arms and tells him the reason for destroying the “lover”. Although he conceals the fear that the monster may cause damage to life, the good intentions of such a “father” are cruel and cruel. Dynamic. When the monster shouted “Father”, the audience laughed; when the monster imitated human beings in a strange voice and answered “Yes, my father, thank you”, the audience laughed and cried. This complex relationship between father and son leads people to think: What is the bondage and involvement between people?
  Victor was afraid that the monster would threaten his life, and wanted to stay away from it, or even deal with him. The monster killed Victor’s relatives and friends. Victor destroyed the monster’s “future lover”… the two who were like father and son eventually became enemies.
  Zhai Tianlin handled the scientist’s arrogance, confusion, regret and other emotions in a very high level, and finally determined the responsibility to assume responsibility is also very accurate. Victor lost his loved ones, determined to use science to extend the life of humans. It is the dream of mankind for hundreds of millions of years to return to life. Fear of death is the deepest despair of mankind.
  ”Frankenstein” explores the relationship between humans and science, using lonely and desperate monsters as mirrors to expose our loneliness, blindness, arrogance, and conquest to the sun. If the monster created by Frankenstein is placed today after 200 years, perhaps we will treat it in a more rational, more tolerant, and more human way. When I saw the monster listening to music outside the window with joy, I couldn’t help but sigh, how good! It can obviously be a lovely, kind and beautiful incarnation.
  This play gave us an open ending. The panic that our works bring to us is not only due to the special effects of stage vision and sound, but also to thinking about life itself and its interrelationships. May these thoughts give us more awe of bioethics, and may every living body in the world become soft and strong