So, the question is about making theatre a theatrical power, an anarchist tendency, a disintegrating force which aims to tear up the homogenizing force of modern life. But, even more, if the contradiction is followed
rigorously (and then we shall approach the symbolic), it is possible to overcome completely the antinomy poetry-non poetry, state-non state, in order to pass to an invisible projection of singularity.
To the actor falls then an ultimate dramatization of fiction: a high vibration of fiction, so that it will be totally, and even more, accepted; that it will be elevated to power, will become power: incarnated; a terrible weapon; that it will be very fast, that it will incorporate its opposite: the animal, which does not understand fiction, because it does not have language and it does not have death; which incorporates, finally, the entelechy of the animal.
So, that fiction will become the limit with the divine; that the high fiction of life will be a sign of life for existence: to create, and create twice.
Romeo Castellucci, Hamlet. The vehement exteriority of a mollusc’s death, 1991