воскресенье, 26 декабря 2010 г.

Grimaces of hell in paradise emptiness of Romeo Castellucci



Ромео Кастеллуччи (Romeo Castellucci) - испытание не для слабонервных. За несколько недель до гастролей по Москве разнесся слух, что режиссер затребовал три свежеотрубленных коровьих головы, чтобы размозжить их во время спектакля под прессом: ему нужен был звук хрустящих костей. Впрочем, этот звук - не самое шокирующее впечатление от "Генезиса" Кастеллуччи. Ветхозаветную Еву у него играет голая раковая больная, с целлюлитом и без одной груди, Каина - мужчина с обезображенной рукой, а жертв Освенцима - собственные дети режиссера. Впрочем, слово "играют" к экстремальному спектаклю Кастеллуччи не подходит. В мрачную, но завораживающую игру на сцене играет только один человек, сам постановщик, он же сценограф и звукорежиссер. Спектакль Кастелуччи – путешествие в смерть без обратного билета. Смерть для него – единственный выход из мира крови и жестокости. Но жизнь после смерти ещё ужасней, чем до неё. Тупик. 
 
Трагедия – это не отрицательное понятие. Это просто мгновенное прозрение, озарение. Момент вспышки истины. И происходит такое озарение одновременно – и на интеллектуальном уровне, и на иррациональном.
Romeo Castellucci


The theater, reportedly says Castellucci, is a space to show amazing events.
But what is "amazing"? Castelucci's amazing might actually come from a maze rather than from amazement. It is a dry, calculated construction, a sort of a post-Wilsonian theater of imagery. But where Robert Wilson opts for a sort of a postmodern surrealism, the Castellucci I've seen prefers semantic games with the "timeless themes": birth, death, violence, etc., directly going for the heavy-duty stuff. At the same time, his aesthetics is quite close to what we've seen in the Cremaster Cycle. The strong white light that's gloomy, the fantasy/mythological characters, the extreme slowness (they aren't only taking their time, but ours as well...), and what's most striking, the extreme ritualization of everyday activities. Actually, this passing onto the stage seems to be quite natural, as Cremaster had the performative and theatrical qualities that only maybe needed to be nourished with some sort of theater dynamics to make it a stage piece. Here, tragedy is what provides this dynamics. It raises the energy level, while keeping the aesthetics of unbearable purity unbearably pure. Castellucci's discovery here seems of some importance: you don't need the story to have the tragedy. 
Or do you?


So I work a lot with images. And each image – every image is like a river. So every image has a starting point and an ending point. But we don’t know where the ending point is. So every image has a story and a strength, a force, inside. And you need to enter in this flow and be taken by this flow that is in the image. And the force that is in an image. And the images, they are coming from everywhere. Of course painting – the history of painting. Sculpture. Architecture. But also the images of the people you see on the street. Or the images you have in the newspaper, magazines. And every image has to be taken into consideration. Is important.
Romeo Castellucci


more:
interview:
Romeo Castellucci and subjective criticism:

In the [ancient] tragedy you couldn’t see certain things. Certain things weren’t shown. They were obscene. That literally means out of the scene – outside the scene. Like all the bloody facts – all the events that had blood within – they weren’t shown. They were behind the scene and they were just told. Not to look is related to the obscene. Something that you don’t have to look [at]. But yet, you don’t have to look at something that is very important. Is the driving force of tragedy. The event that is making tragedy important is the event you don’t have to look at. So the dark that you don’t have to see, to look at, becomes the opposite. It becomes a flashlight. And with a flashlight, you cannot see because there is too much light.
Romeo Castellucci

Tragedia Endogonidia – Episode IV
BR.#04 Bruxelles – Brussel
The Brussel episode introduces new figures to the cast of Tragedia Endogonidia, characters wich are both subject to and subjects of time. BR.#04 considers the duration of human life, focusing above all on the enigma of its start through birth into the world, the moment of initiation to language and the final swallowing of human life by bottomless pit of time.
The spectator is both a witness of that wich take place on stage and of the fact that he himself is a spectator. The episode commences with a new born child sitting on the stage, unaware of the place wich surrounds him, together with a mask wich is teaching him the alphabet. The scene shifts constantly between fiction and the reality of fiction, swapping the point of view between the stage and the stalls in such a way that all are integral spectators.
The forces of law and order appear in uniform, but they are no longer the Soldier of Conception seen in Episode 2. Now they are Policemen wearing the uniform of the country in wich the show is being performed and thus representatives of the territorial law of that place. As an Old Man “evaporates” from his death bed, the closing credits of a film scroll – albeit in the letters of an unknown alphabet – above the curtain and the episode closes.

http://rapidshare.com/files/226729135/Tragedia.Endogonidia.Episode.4.BR.04.Bruxelles.avi.001
http://rapidshare.com/files/226728415/Tragedia.Endogonidia.Episode.4.BR.04.Bruxelles.avi.002
http://rapidshare.com/files/226728408/Tragedia.Endogonidia.Episode.4.BR.04.Bruxelles.avi.003
http://rapidshare.com/files/226728193/Tragedia.Endogonidia.Episode.4.BR.04.Bruxelles.avi.004
* my art: My sister moon [chernobyl] (by Igor Vaganov)

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