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Socìetas Raffaello Sanzio
Box No. 7

Socìetas Raffaello Sanzio /Italy/

"I thought about installing a mask from Ancient Greek comedy for the Prague Quadrennial. It would be a faithful copy in bronze of a Silenus of the Hellenistic period (mid-first century BC).  According to mythology, this character is the ´old´ satyr who detested civilised society. Silenus was one of the fundamental characters in Ancient Greek comedy, represented by a bald mask with a Satanic expression and a mocking, sneering grin."

"To be brutally frank, the aim of this installation is to induce fear, not of the mask itself, but of the object it is contemplating: we, the audience, the catalogue of the species, both audience and show. The mask is all-seeing. The mask speaks of everything in a summation of all human languages.  The human comedy is related with a comic tongue and the human being is looked upon with an inhuman gaze."

Romeo Castellucci


P.S. Persona in Latin means mask.

Bio: Romeo Castellucci, Chiara Guidi, and Claudia Castellucci established Socìetas Raffaello Sanzio in 1981. They shared an idea of theatre that was mainly focused on the visual, plastic, and sound power of the scene where, in the very first years, they played as well. Romeo Castellucci is an author and director; he attends to scenes, costumes, and lights according to an unitary principle of dramatic composition which also affects the graphics of their books and programmes. Chiara Guidi, an author and director of music theatre, attended to the dramatic rhythm and the vocalism of almost all performances of the Socìetas; she is interested in art to be shared with children and, back in the ‘90s, she started an Experimental School of Children’s Theatre. Claudia Castellucci is a teacher, decorator, and author of dramatic and theoretic texts; she started many cycles of free research schools based on gymnastics and philosophy. She is interested in the relationships existing between art and its spatial and local occupation. Socìetas has produced performances that have been staged all over the world, including many international theatres and festivals: Santa Sofia (1986), La Discesa di Inanna (1989), Gilgamesh (1990) Hamlet, The vehement exterior of the death of a mollusc (1992), Masoch, The triumphs of the theatre as passive power, guilt and defeat (1993), Hansel and Gretel (1993), a performance for children, as well as Buchettino (1994), and Pelle d’Asino (1998), Orestea (an organic comedy?) (1995), Julius Caesar (1997), Genesis (1999), Voyage au bout de la nuit (1999), and Il Combattimento, based upon the music by Claudio Monteverdi and Scott Gibbons. The Tragedia Endogonidia, 2002 – 2004, is a cycle of performances taking their names after the city where they were represented. It’s a huge summary of the tragic, lived in the topicality and under the pressure exerted by the future.


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