DRODESERA 2010 TRAILER PROGRAMME BOOKLET B-FIES PARTNERS INFO STAFF



SOCIETAS RAFFAELLO SANZIO
Sul concetto di volto nel Figlio di Dio. Vol. I

Friday 23rd July, h 22.30
Saturday 24th July, 22.30
Turbina 2
duration 40 min.

conceiving and staging Romeo Castellucci
original music Scott Gibbons
with Dario Boldrini, Silvia Costa, Gianni Plazzi, Vito Matera, Sergio Scarlatella,
e alcuni figuranti locali / and local extras
collaboration to the staging: Giacomo Strada
realisation of the objects Istvan Zimmermann, Giovanna Amoroso
light technician Giacomo Gorini
sound technician Matteo Braglia
production direction Cosetta Nicolini 
management Gilda Biasini, Benedetta Briglia
organizing assistance Valentina Bertolino
administration Michela Medri, Elisa Bruno, Simona Barducci
economic consultation Massimiliano Coli

The production of the project J is supported by: Theater der Welt; deSingel international arts campus / Antwerp; Théâtre Nationale de Bretagne; The National Theatre / Oslo Norway; Barbican London and SPILL Festival of Performance; Chekhov International Theatre Festival / Moscow; Holland Festival/Amsterdam; GREC 2011 Festival de Barcelona; Festival d’Avignon; Maribor 2012 - European Capital of Culture-Maribor Theatre Festival; International Theatre Festival DIALOG Wroclav/Poland; spielzeit'europa I Berliner Festspiele; Théâtre de la Ville–Paris; Romaeuropa Festival; Le-Maillon, Théâtre de Strasbourg / Scène Européenne; Socìetas Raffaello Sanzio.

In collaborazione con Centrale Fies / Dro

The general activity of Socìetas Raffaello Sanzio is supported by the following italian Institutions: Ministero per i Beni e le Attività Culturali; Regione Emilia Romagna; Comune di Cesena.

The performance in Essen (which will be in Italy for the first time on July 23rd at Centrale Fies in Dro) is aimed at being the very first brick of what will be the representation on the concept of Jesus’ face, with the title “J”. This is the beginning. I want to meet Jesus in His very long absence. Jesus’ face isn’t there. I can see paintings and statues. I know more than a thousand painters from the past who spent half their lives trying to reproduce the ineffable, almost invisible grimace of sorrow which appeared on his lips. And what about now? Now, he is not there. What is really making its way in me is the will. It’s about putting together the will and Jesus’ face: I want to be in front of Jesus’ face, just there, where what mainly strikes me is the first part of the sentence: I will.

R.C.

Once again, Romeo Castellucci turns to an apical icon of the human history: Jesus, with whom the time too confronts itself in most of the world. In “J”, the picture of Jesus starts from the Renaissance painting and particularly in the topic moment of the Ecce Homo. In this precise instant, tradition states that Christ looks the spectator into the eyes, with a powerful effect of dramatic involvement in the questioning. In this calculated confusion of sights’ touching and crossing, the Face of God’s Son becomes the picture of the man, of a man or even of the very spectator. And so, in the performance, the sight of God becomes a sort of light illuminating a series of human actions which can be good, evil, disgusting or innocent.
"J" doesn’t tell about Jesus, nor about the worship; it has no content of social condemnation and it doesn’t want to be easily provocative. At the same time, Romeo Castellucci keeps his distance from mysticism and debunking because, in the end, it’s just the picture of a man. A man who is exposed naked in front of other men; who, in turn, are exposed naked by that man.

www.raffaellosanzio.org