Lazarus, come out!

Dialogo del Risorto

Gesù: Fratelli, spostate la pietra. Lazzaro, vieni fuori!

Lazzaro: Signore, non voglio. Non voglio più tornare nella vita.

IV Livello

Simili, Trasportare Pietra Lazzaro, Uscire Avanti!

Dominare, No Volere. No Volere Blok Voltare Vita.

III Livello

Uomo, Forza Minerale Uomo, Ano Terra!

Ultimo Volere Ultimo Volere Blok Pensare Natura.

II Livello

Regni, Aktivity Regni Regni, Ossox Pre-tomba!

Ultra, Ultra Mìox Ultra Mìox Blok Mìox Kosmos.

I Livello

Meteora, Blok Meteora Meteora, Apotema Agone!

Meteora, Meteora Agone Meteora Agone Blok Agone Meteora

Claudia Castellucci, "Dialogo del Risorto", Uso umano di esseri umani, 2014.

In the performance of Uso umano di essere umani the spectator is witness to the descent of language, together of the descent of Jesus to the grave. He is supposed to descent to a place where he will watch the contest of words between Lazarus and Jesus in four levels, where he will be transported through the “Lingua Generalissima”. This strange language, carved on a circular millstone, is reduced to four terms, three of which are Greek, which encapsulate the essence of human linguistic expression: “There are only four words for me: ἀγών, ἀπόθεμα, μετέωρα, block”, writes Claudia Castellucci.

In Uso umano di esseri umani, the “Lingua Generalissima” functions as a gravestone on Lazarus’ grave and as Jesus’ coffin. The grave becomes the place of symbolic rest for logos. The death of Jesus and his non-resurrection symbolize the final dissolution of recited speech and his replacement by the subterranean (as if coming from the bowels of the earth) sounds of wind instruments and lungs. It is an allusion to the chthonic world, the result of an eternal coming and an eternal loss, like an endless movement between to opposite poles.

Eleni Papalexiou, “Nyx Teleia. Nella notte profonda del mondo greco antico”, in: Piersandra Di Matteo (ed.), Toccare il reale. L’arte di Romeo Castellucci, Napoli: Cronopio 2015, 21-34.