Paradiso - theatrical installation
Installation opening hours:
From TUESDAY NOVEMBER, 4
To SUNDAY NOVEMBER, 9
From 7:00 p.m. to 10:30 p.m.
Chiesa di Santo Spirito, Cesena
04/11/2008
, 
19:00
05/11/2008
, 19:00
06/11/2008
, 19:00
07/11/2008
, 19:00
08/11/2008
, 19:00
09/11/2008
, 19:00
Direction, Set Design, Lighting and Costumes Romeo Castellucci
Original Music Scott Gibbons
Collaboration to the Set Design Giacomo Strada
Sculptures on stage, mechanisms and prosthesis Istvan Zimmermann and Giovanna Amoroso
with Dario Boldrini, Diego Donna, Michelangelo Miccolis, Norma Santi, Irene Turri
Technical crew of the Trilogy
Staging coordination Salvo Di Martina
Stage hands Fatmir Gjoka, Federico Lepri, Viviana Rella, Giorgio Ritucci
Lighting Technicians Fabio Sajiz, Luciano Trebbi
Sound Technicians Paolo Baldini, Matteo Braglia
Props and mechanisms care Giovanni Marocco, Alfredo Tassi
Costumes realization Gabriella Battistini
Costumes care in tour Giulia Campolmi and Marion Gizard
Tailoring, props and wigs Carmen Castellucci
Taxidermy Agostino Navone
Aerostatics realizzazione ditraverso
Realization of the Set for Purgatorio D.ex M.Laboratori snc, Calcinelli di Saltara
Realization of mechanical automations Carpenteria metallica M.V
All the object and sculptures and mechanisms have been built at Laboratorio Plastikart of Zimmermann&Amoroso with:
Giuseppe Amoroso, Damiano Bagli, Chiara Bocchini, Laura Ceroni, Lucia Cinnà, Martina Consoli, Romina Giuliani, Caterina Guia, Fabiana Mantovanelli, Giovanni Marocco, Eleonora Paparella, Elena Pescantin, Alice Siracusano, Alfredo Tassi, Patrizio Virzì, Simone Zappoli
Photographer Luca Del Pia
Production Direction Cosetta Nicolini
Management Gilda Biasini, Benedetta Briglia
Assistance to the management Alba Pedrini
Administration Michela Medri, Elisa Bruno, Simona Barducci
Consultancy and planning Massimiliano Coli, SKUPA srl
Production of the Trilogy Socìetas Raffaello Sanzio; Festival d’Avignon; Le Maillon-Théâtre de Strasbourg, Théâtre Auditorium de Poitiers–Scène Nationale, Opéra de Dijon; barbicanbite09, London as part of Spill Festival 2009; deSingel /Antwerpen, Kunstenfestivaldesarts; De Munt/La Monnaie / Bruxelles; Athens Festival; UCLA Live / Los Angeles; La Bâtie-Festival de Genève; Emilia Romagna Teatro Fondazione / Modena; Nam June Paik Art Center/Gyeonggi-do, / Seoul Korea; Vilnius – European Capital of Culture 09, Vilnius International Theatre Festival Sirenos;
Cankarjev dom / Ljubljana; F/T 09 Tokyo International Arts Festival;
In collaboration with Alma Mater Studiorum Università di Bologna. Facoltà di Architettura “Aldo Rossi” di Cesena
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 Project Inferno Purgatorio Paradiso has been admitted to the phase II of evaluation of the Culture Programme (2007-2013) of the European Union
Thanks to Elisa Bartolini and Stefano Cecchini (Maurizio Bufalini Hospital-Cesena), Mauro Brecciaroli, Hubert Chiffoleau, Andrea Francia, Donatella Missirini, Ezio Pancisi, Federica Sintini, Lucy Rice, Dott. Istvan G. Zimmermann
A special thanks to all the artistic, organizing and technical collaborators
from Festival d’Avignon, for their patient and steady care.
Romeo Castellucci has installed his Paradise in the Chiesa di Santo Spirito in Cesena. The spectator who freely roams through this space enters his own intimacy, a process shaped by silent contemplation. It is a paradoxical word, without any incarnation: In Inferno, man is excluded from the elect, here is excluded from the world, condemned to wander in an incorporeal, faceless universe without matter, a place of pure light and limitless sounds, totally devoted to the sole glory of God the creator. “I think that it is the most terrible canto,” Castellucci points out regarding Dante’s Paradise, “a form of reversed exclusion and not a welcome!” Everything is focused on the canto of divine glory, to such a degree that spectators’ bodies seem to dissolve in the light, the sounds and the reflections as though they were losing their substance in a clarity so intense that it absorbs everything, that it was now impossible for anyone to distinguish the place’s perspectives, the propotions of things, the consistency of the objects. Any psychology and any subjectivity seem to be challanged. It is there, in this path taken through the Chiesa di Santo Spirito that each spectator is proposed a question: what is his political, social place, faced with the malfunctioning of existence?
