Animality, Monstrosity and Normality in Bernard Pomerance's The Elephant Man

Abstract

This article examines the relationship between animality, monstrosity and normality in Bernard Pomerance’s The Elephant Man (1977), focusing on the theatrical representation of John Merrick and the conditions of his social recognition. Drawing on philosophical approaches to animality and perspectives from theatre and performance studies, it explores the representation of Merrick’s body, the relationship between spectacle and spectatorship, and the significance of speech, artistic creation and social interaction. The article argues that Merrick’s changing position in Victorian society does not simply represent a transition from monstrosity to humanity, but exposes the normative expectations through which human identity and social acceptance are defined. By examining the reversal of the gaze between Merrick and Treves, it further shows how the play challenges the boundaries between normality and monstrosity and invites audiences to reconsider their own position as spectators.