Frankenstein

OHT confronts a classic of Western literature; Frankenstein or the modern Prometheus. Moving around the time of the experiment, OHT makes partial and vertical lunges into the text, without limits of form, language and duration. The novel becomes material to be examined, dissected, re-stitched, a body available for different experiments: a performance, a reading session, an installation, an EP, an aborted radio drama, a filmic adaptation and finally a book are generated as parts of the same experimentation that proceeds horizontally through the Shelley’s story to investigate its multiple ramifications.

OHT's research sinks into the emotional and literary heart of Mary W. Shelley's novel by listening to the voice of the monster and bringing it back to the centre, discarding the imaginary of Frankenstein that has always prevailed over the story. The creature is reborn as a newborn child of western literature, an infant left alone, escaping loneliness and discovering himself and the world.

At the centre of the narrative, the cliffs of Mont Blanc become intimate and personal vertigoes in the unique dialogue between the monster and its creator. A landscape of a mutual speaking and listening, dense with possibilities and vertiginous failures. From this ridge, OHT begins its investigation crossing the notion of the monstrous by questioning the ambiguous origin of the word monster itself, whose Greek root means both horrible and wonderful. A word linked to Frankenstein's creature but also to its creator, to language, to landscape and the current climate crisis, blurring the contours of the dichotomies that have always been part of our imagination.