This paper aims to provide a phenomenological description of the Avignon premiere of the Inferno, the first episode of trilogy based on Dante’s La Divina Commedia, created by the Societas Raffaello Sanzio, and directed by Romeo Castellucci. The perspective of the paper is based on the approach of the contemporary German theatre aesthetic, which, in the discourse on theatrical performance, favours an event-oriented phenomenological description of the performance over the hermeneutics of the performance. Drawing on the tools of French phenomenology, in particular Marc Richir’s analysis of the sublime, and the idea of transposition of the architectonics of the world-experience, the text explores how the experience of intersubjective sublime can be produced through the interplay of fantasy and affectivity in the spectator’s body of the performance in discussion.