Skip to main content
padlock icon - secure page this page is secure

Turing Test: doo-cot Theatre Company's Frankenstein: The Final Blasphemy and the ‘limits of the (post) human’

Buy Chapter:

$22.00 + tax (Refund Policy)

Frankenstein: The Final Blasphemy, which toured in spring 2000, was devised and performed by the Manchester-based doo-cot theatre company and directed by Emilyn Claid. In existence since 1991, doocot became known as a lesbian feminist puppet company, although their work might be more accurately suggested by the term ‘queer animation’.

Blasphemy used a ‘box set’ composed of white screens on a metal frame. There were two puppets in this show. One was modelled on Frankenstein's ‘creature’, being a ‘naked’, free standing, humanoid, about seven foot tall and covered in roughly sown ‘skin’. This puppet was manipulated mainly via its arms and head, although it was also walked about the space. The other puppet was a smaller, hand held creature, reminiscent of a skinless turkey, seemingly made out of lungs and intestines. These puppets were manipulated by Neagh Watson, referred to in the programme as both ‘the performer’ and the ‘monster creator’, and since she performed something like the role of Victor Frankenstein as well as animating the monster puppet, she did in a sense play both monster and creator. The second performer, Rachael Field, described as ‘the hybrid’ in the programme, played various roles, including a ‘scientist’ accompanied by a live white rat, but for the most part remained off stage, operating digital technology.

Blasphemy loosely followed the trajectory of Hollywood versions of the Frankenstein story, starting with the ‘creature’ being brought to life and ending with images of burning. However, this narrative functioned mainly as a foundation for the elaboration of contiguous imagery, delivered by means of pre-recorded video, live relay and digital computer generated/manipulated images projected onto the set, the puppets and performers’ bodies. These included representations of DNA sequences, footage relating to the processes of cloning, drawings from medical text books, images from Hollywood versions of Frankenstein, ‘home’ video footage referencing those films, and sequences showing animals and human bodies being dissected.
No Reference information available - sign in for access.
No Citation information available - sign in for access.
No Supplementary Data.
No Article Media
No Metrics

Document Type: Research Article

Publication date: January 1, 2005

More about this publication?
  • Access Key
  • Free content
  • Partial Free content
  • New content
  • Open access content
  • Partial Open access content
  • Subscribed content
  • Partial Subscribed content
  • Free trial content
Cookie Policy
X
Cookie Policy
Ingenta Connect website makes use of cookies so as to keep track of data that you have filled in. I am Happy with this Find out more