For this research task, I was asked to look into the visual interpretations of Kafka's short story The Metamorphosis (Die Verwandlung). I started by doing some online visual research to see how illustrators had handled the story. The coursework pointed out that I'd encounter a limited range of imagery. I found this to be correct, however, I thought it interesting to note that there was more variation in what the illustrator focused on. Some seemed to focus mostly on only the beetle; fewer seemed to choose the door as a visual metaphor than the course text suggested.
I picked out a selection of images which I found interesting, and which I could reliably cite as references.
Robert Vogt
Many of the images I discovered for the story utilised a very limited palette. More often than not they were black and white; where colour was used, it was often red. This means a lot of the
work exhibits qualities of German Expressionism. This is in keeping with the story's metaphorical representation of subjective emotions, and the original date of publication, coming in the midst of the First World War.
Vogt uses a woodcut style very effectively. The composition and his economical use of linework create a sense of isolation. The beetle being trapped on its back doesn't give a sense of surprise and desperation, more like depression and resignation. This particular illustration feels like it would be best used as a spot illustration alongside the text, as it tells a specific point of the story rather than trying to evoke the overall themes of the story.
Götz Gramlich
In contrast, Gramlich's image works well as either a front cover or a poster. Rather than depict a scene of the story, Gramlich instead focuses on the exploration of psychology at the heart of the story. The folded paper reminds us of the childhood activity of creating butterflies and other insects, but this also has the adult implication of psychological Rorschach inkblot tests. The image also has a pareidolic aspect, creating a portrait of Kafka/Gregor.
This is a really clever interpretation, with a crossover to themes within the story. If it is an inkblot test, what do you see first? The beetle or the man? The image is both and yet neither and accentuates the emotional focus of the story's themes
Michael Hacker
Hacker's illustration does try and emphasise the theme of entrapment that the course text suggested. However, he does not use the door as a metaphor for Gregor's isolation. Instead, the beetle itself is the prison.
Given the psychological themes that Kafka explores, I find this interpretation compelling. We get a cutaway view revealing the pathetic image of the man inside. The beetle is a metaphor for a prison but also self-exile. The chitinous exterior of a beetle provides a form of protection to the character. It is, however protection that does not serve him. To others, he appears as a vermin and attracts the kind of revulsion and ostracisation this kind of protection was meant to provide in the first place. This image conveys a self-fulfilling prophecy. That this is a prison of his own making. The irony is that under the shell of a beetle are wings that could help him fly and be free, yet he is so trapped within the shell he does not think to use them.
Rohan Eason
My final choice of illustration to compare was this one by Rohan Eason. It accompanies a re-telling of The Metamorphosis in a compilation of Kafka stories that have been adapted for children.
Here we see a scene where Gregor is interacting with Grete, which I think is a positive aspect as many interpretations of the story play down the importance of Grete within the story, and Gregor's relationship with her. The insect is more fantastical than grotesque, with a much-reduced emphasis on body horror than other interpretations. Again, there is a black-and-white implementation harking back to the German Expressionistic root of the story, but while there are stark contrasts of light and dark, the unease is conveyed through the forced perspective of the composition. The door does feature, but it seems the real emphasis is the relationship between the two characters.
Other media
I also looked at how the story has been told in other media. The theme of metamorphosis and the psychology of 'other' have been explored indirectly (The Fly, 1986 & District 9, 2009) and directly as interpretations of Kafka's story (The Metamorphosis, 2012). However, I felt that in this format the emphasis on symbology and psychology was lost somewhat.
My research discovered two stage adaptations which seem to share the literary and illustrative format's connection to core themes and symbols. Vanishing Point's interpretation features a really interesting stage design. Gregor has changed from man to boy in this adaptation, and the door features prominently. It feels like less of a symbol of being trapped and more like a portal between two worlds. The set design employs an ingenious semi-opaque screen to visualise the conversations and interactions outside of the room. By putting the bedroom downstage, we share the space with Gregor, which mirrors the book's emphasis on his emotions and perspective. It also helps to convey the isolation of hearing people talk about you outside of your sphere of control. The lighting outside of the room is warm and bright, and cool in the bedroom, much like a dungeon cell might appear.
The Royal Opera House produced its own interpretation, again creating a barrier between the room and the rest of the house. However this time the wall is invisible, a gaping moat symbolising the separation. This makes the symbology of the door more powerful, as it is not just a portal in and out of the bedroom, but a bridge. A bridge can be the source of freedom and travel, but can also be a way to defend (as the family uses it). The actor playing Gregor uses contortion to depict his change into a beetle, and this production seems to rely much more on this traditional and naive way of conveying the unease of body horror. The set design echoes the black and white illustrations, again seemingly tying the story to the stark visual language of German Expressionism.
References
Bodlovic, M. (2020) The Metamorphosis, Traverse Theatre. Edinburgh. Available at: https://www.traverse.co.uk/whats-on/event/the-metamorphosis-1 (Accessed: 22 October 2023).
Eason, R. (2013) The Metamorphosis, Illustration X - Rohan Eason. Available at: https://www.illustrationx.com/artists/RohanEason (Accessed: 22 October 2023).
Gramlich, G. (2015) The Metamorphosis, gggrafik design. Available at: https://gggrafik.de/metamorphosis (Accessed: 22 October 2023).
Hacker, M. (no date) Kafkalake, Michael Hacker - Kafkalake. Available at: https://www.michaelhacker.at/kafkalake/ (Accessed: 22 October 2023).
Kafka: Metamorphosis (Royal Opera House) (2013). 11 December. Available at: https://www.youtube.com/watch?v=4Y3izEP3o4Y (Accessed: 22 October 2023).
Vogt, R. (2015) Woodcut of an insect on a bed, Behance. Available at: https://www.behance.net/gallery/55545811/Linograbados (Accessed: 22 October 2023).
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