In his essay Romeo Castellucci explains his thoughts on the animal presence on stage in his own performances. He reminds us, that the theatre since its beginnings has contained a theological problem: the problem of God’s presence which moves through theatre. For westerners, theatre was born as God died. The animal played a fundamental role in the relationship between theatre and God’s death. In the moment that the animal disappeared from the scene, (language-based) tragedy was born. As a polemical gesture towards the Attic tragedy Castellucci brings back the animal on stage whose body – as well as our human body – mainly consists in a simple and radical reality. On stage the animal is comfortable in the confidence of its own body; at the same time it feels uncomfortable in its surroundings. The device of technique – which is despised by Castellucci – cannot be used by the animal, as it already possesses the greatest device: to be alienated on stage in an alert state. This is the animal’s super-technique, which helps to immediately reach the communicable purity of the body.
How to cite:
Theatron 16, 3. sz. (2022): 147–149.
Cím/Title (HUN): Az állati lét a színpadon
Cím/Title (ENG): The Animal Being on Stage
Keywords: animal body, Attic tragedy, pretragical theatre, super-technique