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    The Archive of Socìetas Raffaello Sanzio

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    © 2014 ARCH | Archival Research & Cultural Heritage

    Romeo Castellucci | Theatre can have even more energy than a punk concert

    August 4, 2019

    Romeo Castellucci | To create, and create twice

    April 13, 2019

    Light versus darkness: Chiara Guidi | The Land of the Earthworms

    August 29, 2018

    The naked person, publicly watched, is just him/her, the spectator

    June 24, 2018

    Digging the Archive: Santa Sofia. Teatro Khmer

    January 29, 2018

    Origins: The Archive of Socìetas Raffaello Sanzio. A contribution to Theatre Genetics

    January 13, 2018

    The Visionary of the non-visual

    December 5, 2017

    Digging the Archive: An old postcard by Laura Farabough to Società Raffaello Sanzio

    October 15, 2017

    Karin in the realm of shadows: Romeo Castellucci | Orfeo ed Euridice by C.W. Gluck

    September 17, 2017

    A theatre of non-representation

    July 31, 2017

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    The riddle of life waiting to be solved | The Parthenon Frieze by Romeo Castellucci

    November 24, 2015

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    Posted by Elpida Komianou

     

    There are times when art sprouts from the roots of coincidence. "The 'Parthenon frieze' reflects man's struggle for life", Romeo Castellucci says. Six accidents in a city, causes unknown. Six victims at the borderline between life and death. Whether they cross it or not depends on "fate". Six riddles waiting to be solved.

     

    The performance opened in Paris on November 23, 2015. At Villette, the boundary between stage and stalls is non-existent. Real medical teams and rescue crews operate in the theatrical space. The spectators, standing, are within the field of action, and will come face to face with images they experienced in real life or through their TV monitors on Friday 13 November 2015 in Paris. The western culture of political correctness demanded of the Festival d'Automne to warn the public that the performance may "remind them of familiar misfortunes". Indeed, Romeo Castellucci very recently admitted that the performance is a mirror of what has just happened, and apologized for the irreparable that art unconsciously creates. He concluded by saying that the most human reaction would be to remain here, present, in the face of so many human absences.

     

    While I am having these thoughts, Euronews' caption from its speakerless in situ reports keeps flashing in my mind... "no comment".

     

    Elpida Komianou

     

    Les Metopes du Parthenon, Festival d'Automne, Paris

     

     

     

    Tags:

    Romeo Castellucci

    The Parthenon Frieze

    Le Metope del Partenone

    Les Metopes du Parthenon

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