L’archive théâtrale de la Socìetas Raffaello Sanzio : un pèlerinage dans la matière
La deuxième particularité de l’archive concerne sa propre nature : il ne s’agit pas d’une archive historique, qui resterait au-delà de...
"This is my heart which was taken away from me in 1944"
The second part of Romeo Castellucci’s production Genesi. From the Museum of Sleep, entitled “Auschwitz” concerns the systematic murder...
Another successfully completed mission
Black and broken nails, aching wrists, filthy hair, bloodshot eyes, dust, dust and more dust, loads of love and in the end big smiles,...
Romeo Castellucci | Theatre can have even more energy than a punk concert
"I viewed conventional theatre with great suspicion, considering it –sometimes even today– an art form devoid of intensity and nerve […]....
Romeo Castellucci | To create, and create twice
So, the question is about making theatre a theatrical power, an anarchist tendency, a disintegrating force which aims to tear up the...
Light versus darkness: Chiara Guidi | The Land of the Earthworms
Similarly to Euripides' Alcestis, Chiara Guidi's The Land of the Earthworms revolves around the bipolar contrast of light versus...
The naked person, publicly watched, is just him/her, the spectator
"Hey, girl!" is movement on the way meaning nothing else but what is derived from watching every gesture in real life, a gesture that is...
Digging the Archive: Santa Sofia. Teatro Khmer
In Santa Sofia. Teatro Khmer (1986) the set is dominated by an enormous Byzantine icon of the Pantocrator Christ, staring with a piercing...
Origins: The Archive of Socìetas Raffaello Sanzio. A contribution to Theatre Genetics
The tracing of the evolutionary development of the Socìetas Raffaello Sanzio from the end of the 1970s until 2005 constitutes an...
The Visionary of the non-visual
‘Every image we see in art should penetrate us, cause in us a kind of fire’, Romeo Castellucci once said in a 2015 interview. Living up...