Romeo Castellucci e Socìetas Raffaello Sanzio (Italian Edition)

Closed up inside a concentration camp made of electric circuits and stuffed animals that have become simulacra of his family, he incessantly vacillates between being and non-being. Orestea una commedia organica? From the museum of sleep comes to grips with the first book of the Bible. Structured into three acts — A t the beginning, Auschwitz, Abel and Cain —, Castellucci contemplates creation through its most extreme opposite: The most obvious dissimilarity is the presence of raw facts , with no possible catharsis. The cycle of films, created by videoartists Cristiano Carloni and Stefano Franceschetti, encompasses 11 films which retrace the biological and morphological life of the entire project.

Here, we have proposed a viewing of 4 Episodes. Filmed extracts allow us to revisit the three performances: A Selection of Extracts Hey Girl!

This program is made up of extracts from a few recent creations by Romeo Castellucci. In the performance Hey girl! In Sul Concetto di volto nel Figlio di Dio On the Concept of the Face, Regarding the Son of God , framed between an enormous Salvator Mundi by Antonello da Messina and the spectator, a hyperbolic amount of excrement is produced by an old and incontinent father, lovingly cared for by his son, turning the degradation of the body into a sublime reflection on mankind and transience. An unprecedented vision follows of the site-specific performance The Phenomenon Called I , conceived en plein air for the park of the artificial island Yumenoshima Island of Dreams , made out of urban waste and found in the bay of Tokyo, in front of an audience of approximately 3, people, roughly six months following the disastrous tsunami that struck the country.

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Yudai Kamisato and Satoko Ichihara. There can be no question of any kind of dialogue between us and the audience, because the only Active Place is the stage. The stage, thus, is a secluded place. The Big Separation is made manifest in the performance I Miserabili The Miserable — , where the concept of seclusion, theorized in Teatro Avulso, becomes material: Il Teatro dei Murati consolidates the philosophy of the Big Separation into a firm refusal to admit into theatre any tear or gap through which a trickle of communication could pass.

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In this manifesto, at times pretentious, they state that their theatre is a place completely confined and detached from the outside world: The walled people are surrounded by a wall and covered by a roof. The one who inhabits the area inside the wall is making a theatre that is totally detached from the free world, of which he does not want to know anything.

It is an iconoclasm against all the icons that, hitherto, have been the basis of making traditional theatre, an iconoclasm against the word and the condescending relationship between actors and audience, against the cohesive composition of a performance onstage, and against language as a whole. A scarification of language spreads throughout all their productions as an endemic means of investigation. The negation of representation through representation and the negation of theatre through theatre constitute the creative nucleus of SRS: The image that cannot be seen twice is an empty chair that is in the places where Soc.

This chair represents a path through which one has to go in order to get beyond it. The place where the empty chair is welcomes those who will present the Religione delle Colonne [Religion of Columns], the new religion that started in the twentieth century and was transmitted from the iconographers Paolo, Romeo, Claudia Manikon and Chiara Ipertheos.

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It is only by acknowledging the existence of the void and by being comfortable in it that SRS can present its original theatrical vision: Romeo Castellucci decodes the cryptic character of their iconoclasm as follows: It is a technique that, without any doubt, has more to do with religion than with theatre. It is a holy fact. It has to do with finding your own technique in order to destroy it.

Tragedia Endogonidia Societas Raffaello Sanzio @Bergen

There is a glorification, and at the same time, a humiliation. In this way the zenith of communication is reached. We started from the study of iconoclasm and icons. In the manifesto related to the performance Santa Sofia, Teatro Khmer, SRS elaborate further their theatrical iconoclasm and the connection with their religion, the Religione delle Colonne: This is the theatre that refuses any representation. When we do not have any representation at all, it is then that we have real representation. This is the theatre of the new religion: This is the iconoclastic theatre: In I Miserabili the character of the Herald suffers simultaneously from physical and verbal paralysis.

For the whole performance he stands stock-still in the centre of the proscenium, in the midst of a series of scenes, the parables, which take place around him. Their critical investigations established a detached theatre that, based on ideas rather than on dramatic texts, attempted to materialize concepts and test new means of communication beyond traditional language. The dissolution of language: Claudia Castellucci explains the structure of this language as follows: For me there are only four words: From these potent words another sixteen words are derived: The words of the second level start to describe what should have been already understood [by using only the words of the first level].

From these sixteen words unfortunately another eighty words third level are derived that deviate even further from the original four key words. From the eighty words [of the third level] another four hundred follow: This language was used for the first and only time in the performance Kaputt Nekropolis , presented at the Venice Biennial in Tiezzi recalls, Pictorial moments, psychedelic lights that saturate the rusty room of the Dockyard of Giudecca [in Venice], while the music of Inti-Illimani blasts out and big robots enter the stage to rebuke the audience.

In the meantime Paolo and Romeo speak to each other in a brand-new language called Generalissima. It is an urge to invent a new form of communication though a perfect language that is marked by a paradoxical yet functional absence of meaning.



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The artifice of La Generalissima and the Religione delle Colonne were abandoned shortly after their inception, never to reappear. Nonetheless, this probing of communication and representation propelled SRS toward its first principles. Theatre becomes again a natural matter. The animal makes the stage empty. Here a goat, an animal, unable to speak, becomes the author of the contemporary tragic text that finds its roots in the biological realm, prior to language: Having a text that comes from a goat in the context of a tragedy means to disclaim and suspend in just one blow the whole tradition of the very tragedy and, at the same time, it also means to confirm a meaning that is brutally traditional, etymological and literal.

This will be the poetry of our tragedy. And the people will know that we have a poet who has written for us, and this poet is very old but alive. A poet whose poetry coincides with his rest. The sequences of the chosen amines are those respectively responsible for: The sequences of the symbol-letters of each amino acid of the chosen proteins have been reproduced on three white carpets; the Poet [the goat] was free to graze on the diagram of the chosen letters.

Its route sets a graph on the board. The graph draws a constellation of letters that, in turn, formulate a basic writing. The language has become mechanical, cold and emotionless. Starting with the first episode of Tragedia Endogonidia, we see how language is reduced to its phonic origins, to the letters of the alphabet, which are often conveyed by mechanical devices. During the scene of the oracle in C.



The information displayed by this clacking cascade of letters, disturbingly evocative to an Italian audience, refers to the murder of Carlo Giuliani, the young man killed by a carabiniere on Friday 20 July , during the G8 Summit in Genoa. Upstage right is a flat, wooden, white, free-standing head and shoulders, approximately two feet high. The eyes and nose of the figure are black squares and the mouth a black http: The eyes open and shut while it slowly speaks the alphabet, a few letters at a time.

The opening of the eyes and the voice are radio-controlled from the sound booth by the director. Writing about this project, she develops her theory of visual self-similarity, connecting it with the gaze of the spectator. Thus we can see that SRS have, throughout their early work, explored the main themes that would be developed in Tragedia Endogonidia.

Il Teatro Iconoclasta Ravenna: Edizioni Essegi, , pp. Certi prototipi di teatro. Storie, poetiche, politiche e sogni di quattro gruppi teatrali Milano: