Il Regno Profondo
Sermone drammatico
Claudia Castellucci/Socìetas Raffaello Sanzio
15/10/2011
, 
23:00
16/10/2011
, 19:30
Written and read by Claudia Castellucci
Sound Filippo Tappi
Socìetas Raffaello Sanzio
Running time 45'
Socìetas Raffaello Sanzio presents at VIE Il Regno Profondo, a sermon written by Claudia Castellucci, the only protagonist on-stage who declares her text. A pray to an unknown God with precise requests, that deal with the relationship between the living being and the nothing: questions that simple persons stubbornly ask without having answers.
In the pray expressed by Claudia Castellucci there are two temporal orders: the one of the current reality and the other of the thousand-year human history. Their comparison produces the perception of a overhanging previous history and end, forming a span toward to stubbornly people ask questions that have to cross the barriers of the logic knowledge. Uninhibited questions about the coming time and the end of all the things.
http://www.raffaellosanzio.org
Claudia Castellucci/Socìetas Raffaello Sanzio
Romeo Castellucci (1960), Chiara Guidi (1960) and Claudia Castellucci (1958) established Socìetas Raffaello Sanzio in 1981. They shared an idea of theatre which 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 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, author and director of a music theatre, attended to the dramatic rhythm and the vocalism of almost all performances of the Socìetas; she is interested into an art to be shared with the children and, back to the ‘90s, she started an Experimental School of Children Theatre. Claudia Castellucci is 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. She attended to many exhibitions at the Comandini Theatre, an old iron lathe turning school which became the headquarter of the Socìetas back to 1989.
Socìetas has produced performances which have been staged all over the world, in the main 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; in the same year: Hansel and Gretel, a performance for children, as well as Buchettino, 1994 and Pelle d’Asino, 1998. Then, Orestea (an organic comedy?), 1995; Julius Caesar, 1997; Genesis, 1999; Voyage au bout de la nuit, 1999; and Il Combattimento, 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. A long journey through the main European cities which became the fires of the drama. A plot of dumb matters, sharp and thick signs, faces and masks which led to the extreme border of the colours’ and sounds’ spectrum.
After the undertaking of the Tragedia Endogonidia, which was intensively participated, Socìetas Raffaello Sanzio decided to follow the individual working attitudes of its co-founders.
Romeo Castellucci continued his theatre path with Hey Girl!, 2006 and therefore with Inferno, Purgatorio, Paradiso, taken after the Divina Commedia by Dante Alighieri, a huge existential and theatre research which had its debut within the 62nd Edition of the Festival d’Avignon in July 2008. In 2002, he was awarded with the honour of “Chevalier dans l’ordre des Arts et des Lettres” by the Ministry of Culture of the French Republic. In 2005 he directed the 37th Edition of the Biennale Teatro di Venezia, entitled Pompeii, The novel of the ashes, aiming at giving space to other stage experiences, such as the performance, the installation and theatre forms of music and architecture. In 2007 he was appointed “Artiste associé” by the Direction of the Festival d’Avignon, for the Edition of the year 2008. In 2010 Le Monde chose the Divina Commedia as the best performance of the decade 2000-2010.
In 2010 he started the new theatrical project, provisionally called “J”.
This project has been composed by two phases: On the Concept of the Face regarding the Son of God which opened in July 2010 for Theater Der Welt in Essen and the final phase called The Minister’s black Veil which opened in March 2011 in Rennes (France) and which will be restaged and premiered in Rome on November 2011.
Chiara Guidi develops her work on the dramatic vocal composition through Highly Specialised Courses and Seminars about the Voice she runs in several cities, in various Countries. In collaboration with the US musician Scott Gibbons, she composed the music theatre piece Madrigale appena narrabile, 2007; the vocal performance Augustinian Melody, 2007; Night must fall, another music piece dating back to 2008; Flatland, 2008, a dramatic reading she performs live on stage; Ingiuria, a series of cursing songs in collaboration with the musicians: Blixa Bargeld, Alexander Balanescu and Teho Teardo; and L’ultima volta che vidi mio padre, 2009, a music drama with animated images. In 2009, Chiara Guidi directed the 39th Edition of the Festival del Teatro in Piazza in Santarcangelo, conveying the idea of a theatre attitude stretching towards the outside and admitting different degrees of aesthetic awareness. This awareness acted in a complementary way on an audience which was sometimes refined and sometimes casual, but both willing to confront themselves with the music, the real sovereign art of that edition.
Assuming sound as a paradigm with which one has a practical and sensorial experience with reality and its double, since 2008 Chiara Guidi is the artistic director of “Màntica. Esercizi di voce umana” (exercises of the human voice), a program of theater and music at Cesena’s Teatro Comandini which extends the horizons of her personal research to contemporary artists and musicians characterized by the same tension, to artistically develop sound and the voice. Chiara Guidi continues to conduct parallel research on the relationship between theater and childhood: the play Buchettino (1994), taken from “Le Petit Poucet” by Charles Perrault, has encountered children from all continents, and currently versions of this play are being produced by local theater companies in Japan, Taiwan, Chile and Denmark (2011), directed by Chiara. She recently conducted a workshop for artists and children entitled L’arte del gioco nel recinto del testo fiabesco at the Campbelltown Arts Center in Australia, and in 2010 she produced the play Bestione, in which children are called to be spectators and actors at the same time in a theater which immediately translates words into action. In 2011, for younger audiences she will inaugurate Puerilia, a theater festival of puericulture.
Claudia Castellucci carries out her theoretic and teaching work inside the Company.
From 2003 to 2008 Stoa composed “I Balli”, dances marked by an interpretation of movement based on the measurement of musical tempo.
Claudia Castellucci began her study of rhythmic movement in relation to music by studying types of folk dance that emphasize the relationship between movement and musical accents. Her interest in rhythm was also the motivation for her study of Gregorian chants.
Gregorian aesthetics follows a non-mensural principle of rhythm, indifferent to quantity, which Claudia Castellucci has experimented with in “I Balli”.
In 2009 Claudia Castellucci founded Mòra, Socìetas Raffaello Sanzio’s dance company, which has performed Homo Turbae. In 2011 she staged the new dance project called Il Tramonto della Primavera inspired by Igor Stravinskij’s Le Sacre du Printemps, which opened in March 2011 in Dresden (Germany). In 2010 she establishes a new school of rhythmical mouvement, named Calla. In September 2011 Claudia Castellucci will create an ephemeral dance school, École du Rythme, in the frame of Evento 2011 - Second edition. Art for an urban re-evolution, in Bordeaux (France), a project directed by Michelangelo Pistoletto.
Besides the performances, Socìetas Raffaello Sanzio published:
Works about the theatre theory, among which: Il teatro della Socìetas Raffaello Sanzio, dal teatro iconoclasta al teatro della super-icona (Ubulibri, 1992); Rhetorica. Mene Tekel Peres (Aldo Miguel Grompone, 2000); Uovo di bocca. scritti lirici e drammatici di Claudia Castellucci (Bollati Boringhieri, 2000); Epopea della polvere, il teatro della Socìetas Raffaello Sanzio 1992-1999 (Ubulibri, 2001); Les pélerins de la matière. Theorie et praxis du théâtre, Ecrits de la Socìetas Raffaello Sanzio (Les Solitaires Intempestifs, 2001); Romeo Castellucci, To Carthage then I came, exposition (Actes Sud, 2002); Epitaph (Ubulibri, 2003); Idioma, Clima, Crono, quaderni della Tragedia Endogonidia (Socìetas Raffaello Sanzio, 2004); The Theatre of Socìetas Raffaello Sanzio, Routledge, London and New York, 2007.
Among the video production, we mention: Diario Sperimentale della Scuola Infantile anno I di Chiara Guidi, Romeo Castellucci e Stefano Meldolesi (1996, 58’); Diario Sperimentale della Scuola Infantile anno II di Chiara Guidi e Romeo Castellucci (1997, 49’); Genesi, from the Museum of Sleep (2000, 60’) di Cristiano Carloni e Stefano Franceschetti; Epitaph di Romeo Castellucci (2000, 8’); Le Pélerin de la matière di Cristiano Carloni e Stefano Franceschetti (2000, 45’); Ciclo Filmico della Tragedia Endogonidia, di Cristiano Carloni e Stefano Franceschetti (2002-2004, 5 h. 25’), published in may 2007 by Casa di Produzione Rarovideo within the collection Eccentriche Visioni; Inferno, Purgatorio, Paradiso (2008, 190’), published by Arté e Compagnie des Indes.
Prizes and nominations
1996 Special UBU prize for the resistance, following to the exclusion of the company from the public contributions for the experimental theatre by the Ministry for Tourism and Arts of the Republic of Italy.
1997 Premio Masque d’Or as best foreign performance of the year, to “Orestea” at Festival Theatre des Ameriques, Montreal, Quebec.
1997 Premio Ubu as best performance of the year to “Giulio Cesare”
1998 Special UBU prize for the Childrens’ Theatre, assigned to Chiara Guidi for her Childrens’ Experimental Theatre School"
2000 Premio Europa Nuove Realtà Teatrali to Socìetas Raffaello Sanzio. Taormina - Sicily
2000 Ubu Prize as best performance of the year to “Genesi from the museum of sleep” wins the
2000 Prize as Best International Production to “Genesi from the museum of sleep” at the “Dublin Theatre Festival” (October 2000)
2000 Grand Prix de la Critique-Paris won for the scenography of “Genesi from the museum of sleep”, assigned to Romeo Castellucci.
2002 On 22nd February Romeo Castellucci was bestowed with the title of “Chevalier dans l’ordre des Arts et des Lettres” by the Ministry of Culture of the Republic of France, in the person of the Minister Mrs.Catherine Tasca.
2003 Romeo Castellucci receives the nomination of Director of La Biennale Teatro di Venezia
for the year 2005
2004 Special UBU prize, assigned to Romeo Castellucci for the Tragedia Endogonidia Project
2006 Special UBU prize, assigned to Romeo Castellucci for the Direction of Biennale of Venezia, section Theatre, with the program “Pompei. The novel of the ash”
2006 Special prize “Interdisciplinarità” assigned on June the 9th. by Alma Mater Studiorum of University of Bologna to Socìetas Raffaello Sanzio
2007 Romeo Castellucci is designated as “artist associé” for the Festival d’Avignon 2008 together with Valérie Dréville
2008 Chiara Guidi receives the nomination of Director, together with Enrico Casagrande/Motus and Ermanna Montanari/Teatro delle Albe, of Santarcangelo Festival for 2009-2011
2010 Divina Commedia receives the nomination of Le Monde as best theatre performance of the decade 2000-2010
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