By Joe Kelleher, Nicholas Ridout, Claudia Castellucci, Chiara Guidi, Romeo Castellucci
The Theatre of Soc?etas Raffaello Sanzio chronicles 4 years within the lifetime of a rare Italian theatre corporation whose paintings is well known as probably the most fascinating theatre at present being made in Europe. within the first English-language publication to rfile their paintings, corporation founders, Claudia Castellucci, Romeo Castellucci and Chiara Guidi, speak about their method of theatre making with Joe Kelleher and Nicholas Ridout. on the centre of the publication is an in depth exploration of the company's 11 episode cycle of tragic theatre, Tragedia Endogonida (2002–2004,) together with: construction notes and broad correspondence giving insights into the artistic technique essays by means of and conversations with corporation participants along severe responses by means of their co-authors seventy-two photographs of the company's paintings. this can be a major choice of theoretical and functional reflections with regards to theatre within the twenty-first century, and an indispensible written and visible rfile of the company's paintings.
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Extra resources for The Theatre of Societas Raffaello Sanzio
Downstage of Demetrio stands a young man in black formal trousers with a red stripe down the side of one leg and shoes, but stripped to the waist. He sings. He is a soprano, Radu Marian. He sings a song in a language I do not understand. Romeo Castellucci had earlier suggested that this piece might include ‘a language no one understands, like Hungarian’. But it is not just the strangeness of the language, but the extraordinary and genuine male soprano voice that demands attention. And his breathing.
The things we might articulate in such a language, the ‘we’ that this non-community might become through articulating and understanding such things, are still to be imagined. The video stops and the brutal, simplistic, boom boom boom of the theatre organism, this pseudoorganism, this stranger of our own making, continues a while in proper darkness. Then this too stops. Out of this silence, this wordless infancy lodged in us, we might begin, clumsily, patiently, to respond . . Something new begins.
Our aim is not only to offer an insight into the particular conditions, ideas and practices that constituted Tragedia Endogonidia but also to offer this insight as at least partially representative of a distinctive theatre-making practice, evolved over twenty-ﬁve years and in continual development. The second section (‘Conversations’) is composed of edited transcripts of conversations between the ﬁve authors of this book, recorded at the Teatro Comandini in Cesena in the summers of 2004 and 2005.
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