‘Every image we see in art should penetrate us, cause in us a kind of fire’, Romeo Castellucci once said in a 2015 interview. Living up to his own expectations of what art should achieve, the work Castellucci has been creating for more than thirty-five years never ceased to set the art world on fire, as it continued to surprise –and, very often, also to shock– spectators, critics, artists, and scholars alike. Together with the company he founded, the Socìetas Raffaello Sanzio, Romeo Castellucci has invented a new stage language and created a theatre that is immediate, vibrant, beautiful and violent at the same time. His theatrical poetics, which explores the limits between the human and the inhuman, is heretic, but it is also deeply rooted in primitive codes, replete with meaning but using a minimum of speech. His work is characterized by its constant change of style and its experimental nature, its audacity and its sense of danger and fragile balance. It already constitutes a major chapter in the history of modern theatre. As theatre scholar Marco De Marinis notes, ‘Socìetas Raffaello Sanzio and Romeo Castellucci have contributed to a radical change in our way of thinking about and making theatre in our era.’
Eleni Papalexiou, “Romeo Castellucci or the Visionary of the non-Visual”, in: The Great Stage Directors: Pina Bausch, Romeo Castellucci, Jan Fabre, (edited by Luk van Den Dries & Timmy De Laet), London: Bloomsbury Methuen. Forthcoming.