| above all for the anarchist linguistic imagination, and for the awareness of the concreteness of the words.
His research pushes up to the creation of a new utopian universal language, called “generalissima”, assumed in the piece Kaputt Necropolis, presented with success at the Venice Biennale of 1984.
Santa Sofia, Teatro Khmer in 1985, is the work that has marked the declaration of war to the images, subsequently radicalized in terms of the language with I Miserabili. During the whole length of this work the central character is immovable and molt, as a pragmatic acting and playing. Only the body, primal mater before being an actor, spectator of himself, is present on stage.
Bodies of men, women, animals, of any age, measure and deforming, this will be therefore the constant of the language of Romeo Castellucci. The body, significant sign, more powerful to the opera, becomes essential element and components of his work.
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