The Theatre of Socíetas Raffaello Sanzio by Joe Kelleher, Nicholas Ridout, Claudio Castellucci, Romeo

By Joe Kelleher, Nicholas Ridout, Claudio Castellucci, Romeo Castellucii, Chiara Guidi

Contents
Introduction: the spectators and the archive (Joe Kelleher and Nicholas Ridout)

PART ONE: Makers and spectators, Tragedia Endogonidia 2002–4
Laboratory, 2001
Letters to Scott Gibbons (Chiara Guidi)
Making area (Claudia Castellucci)
System, services and workings for a tragedy of gold (Romeo Castellucci)
On the Earth’s level (Romeo Castellucci)

C.#01, Cesena
Letters to Scott
An organism at the run (Joe Kelleher)

A.#02, Avignon
A letter concerning the goat that gave its identify to tragedy (Romeo Castellucci)
First grammatical workout with twenty amino acids (Chiara Guidi)
Letter to Scott
From the ultimate script of A.#02
Night, writing, gesture (Joe Kelleher)
The type of a blot (Claudia Castellucci)

B.#03, Berlin
Letters to Scott
From the ultimate script of B.#03
A play of grief (Joe Kelleher)
From the ultimate script of B.#03
On being there (in the start) (Nicholas Ridout)
On now not being there (Berlin) (Nicholas Ridout)

BR.#04, Brussels
Letter to Scott
Storytime (Joe Kelleher)
Out within the open (Nicholas Ridout)

BN.#05, Bergen
Fluid earth

P.#06, Paris and R.#07, Rome
Letters to Scott and Marco
Modern performing (Nicholas Ridout)
Somebody, anyone (Joe Kelleher)
Letter to Scott
From the ultimate script of R.#07
Monkey company (Nicholas Ridout)
From a talk approximately dramaturgy
The Italian comedy (Joe Kelleher)

S.#08, Strasbourg
Letters to Scott
Earth and glass (Joe Kelleher and Nicholas Ridout)
A dialog approximately dramaturgy, contd.

L.#09, London
A dialog approximately dramaturgy, contd.
From the ultimate script of L.#09
On the belief of crescita (Romeo Castellucci)
Francesca and the machines: on Crescita XIV Prato (Joe Kelleher)
From the ultimate script of L.#09
A theatre dream (Joe Kelleher)

M.#10, Marseille
From Marseille sketch
Letter to Lavinia
Asking for it (Nicholas Ridout)
From the ultimate script of M.#10
Beware what you would like for (Nicholas Ridout)
The photo, where, the drama, us (Claudia Castellucci)
To stay episodically (Claudia Castellucci)

C.#11, Cesena
From the technical script for C.#11
On make-believe (Nicholas Ridout)
From the ultimate script of C.#11
The attraction (Joe Kelleher)

PART : Conversations
‘The theatre isn't our home’: a talk approximately area, level and audience
A dialog approximately dramaturgy, contd.
A dialog approximately pretence and illusion
A dialog approximately composition
A dialog approximately rehearsal
A dialog approximately gesture
A dialog in regards to the future

PART 3: Disjecta Membra
Entries from a laptop of Romeo Castellucci

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Extra info for The Theatre of Socíetas Raffaello Sanzio

Example text

02 Outside the audience receive a little sheet with the structure of the show subdivided into themes. Exterior zone In the black room there are two video projections on two white screens: 1. 2. #02 The sound inside the room mixes with the sound coming from the other room. A (child) actor who performs even as he is performed upon.

Except he appears to us from a time and place so far in the future that the names of those precursors have long been forgotten, even as they are ghosted in him. He eats one of the buttons off his suit jacket and then farts while he stares at us, the chewing and crunching miked up loud, an echo of an old ‘popular’ comedy – a satyric comedy – of mouth and stomach and anus but beamed back at us across unimaginable distance from the quarterdeck of some sort of golden spaceship. His messages are as enigmatic as they are insistent.

A sculptural group. Without that will to understand which the Chorus brings, the episode represents, with its naked action, the inexplicable I of the 31 LABORATORY Tragedia Endogonidia spectator; whereas the Chorus explains and conjugates the it of the character according to the coordinates of a story. What remains of an episode can only be the pseudo-biography of a hero. But it is really from the unspoken that form takes shape. In the most extreme synthesis, tragedy can be defined as the art of anonymity: anonymous because it contains the communal us, which it is capable of constructing instantaneously (inexplicably) around the figure on stage.

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