Yet, this fragility is a resource as it is the condition of a paradoxical gentleness. The visual dynamics of this show has the consistency of this stupor and, at times, of this terror, that takes hold of man when he is reduced to his insignificance, powerless in the face of the elements that overwhelm him. Everything assaults him here, the violence of the images, the fall of his own body into matter, the animals and the ghosts. Alone on the large theatre stage or, on the contrary, walled in the crowd and confronted with the rumour of the world, the man depicted by Romeo Castellucci bears the full brunt of this experience of the loss of self, bewildered. But what sin is the artist guilty of? If he is lost in this way, it is because he doesn’t know the answer to this question. In the dark forest into which he is plunged from the outset, he doubts, he fears, he suffers. Thanks to a spectacular stage device – some sixty adult and child extras, dogs, a horse – he stages the solitude and stupor of humans facing the world, aware of how insignificant and fragile they are. His challenge here was to occupy the space and organise his visual inventions with the architecture of this monumental place. With “Inferno”, the first part of the triptych, he was faced for the first time with the stage of the courtyard of honour of the Papal Palace. Regularly invited to Avignon, he was an associate artist in 2008, proposing three shows inspired by Dante’s Divina Commedia. A key theatre-maker, Romeo Castellucci has developed an original stage art, a meeting of all artistic expressions, by freeing himself from the primacy of text in favour of the energy of bodies, movement and material.
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