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A culture that is too driven by fear – and has forgotten how to look. At this conclusion, the director Romeo Castellucci enters into conversation with ORF.at on the occasion of his Salzburg Salomé. With his work, sometimes the attribute "scandal theater" is attached, he wants to confront the human to the unknown. And to put viewers in touch with their own experience, even at the sight of the most extreme personalities on stage.
He deliberately wanted to leave certain moments in his theater in the dark and not "brighten up," says Castellucci about the driving forces of his stage work. one of the mental concepts and not the overpowering images. Castellucci sees our time in an abundance of photos. The abundance of images leads us to have forgotten to look and recognize. "All that is visible prevents the view, prevents the experience from looking," he says. Therefore, you need places like the museum and the theater to regain the elemental feeling for yourself.
The director of Italian Cesena locates a climate of fear and desire generation in the use of the pictorial machinery of the present. For artists, he wants "a council of Nicea", so that the culture of vision can be redesigned.
The highlights of the opera on ORF
The ORF shows the two operas of Salzburg opening. Saturday, July 28, delayed at 21:55 in ORF2 and Saturday, August 11 at 20:15 at 3sat.
ORF.at: You spoke of the confrontation with the unknown in presenting your ideas for the "Salome". Why is this confrontation with the unknown important in your work?
Romeo Castellucci: I think that one of the most important reasons why people go to the theater is the confrontation with the unknown in a world of known structures. "Salome" is a perfect piece for that. Because the mystery of human behavior is a central point in this piece. My job is to protect the unusual and strangeness of these people. The director's job is not always to explain or enlighten things. I work with the shadow, trying to protect it, creating environments where information is deliberately missing. It's a form of spectator wealth and involvement.
Confrontation with the unknown
"The role of the theater director is to keep things in the dark and to create special spaces in which there is a lack of information." [19659011] ORF.at: In "Salome", there are three driving forces: the desire, the obsession and the idea of making something visible, of creating images. What is the relationship between the elements?
Castellucci: There is certainly the element of obsession, constraint, coercion. Because there are also behaviors, I would say, almost automated. This is a typology of behaviors. I would say that here each figure represents a behavior that we all experienced before in our lives.
ORF.at
The figures in this one The drama, in this tragedy of the voice, as it was defined, presents the entirety of a person. The forced obsession reveals a pbadive behavior, pbadion, a pbadion. The characters suffer from their own desire. The wish is an incentive. But desire is by definition a missing object. Therefore, it is very important to correctly interpret Jochanaan's head: Jochanaan's head, of course, is the object of desire, which by definition lacks
Desire and Desire
"In the, Salome "People and characters suffer from their own desires, their desires."
ORF.at: Can we say that Jochanaan represents the concept of logos? At the beginning, he sings in the darkness we only hear his voice and announce that something happens that we do not see yet.
Castellucci: John is an extraordinarily strong and punitive person, and is also defined in the Bible: a voice that cries in the desert. So, above all, John is a voice.In iconography, he is thin, very thin.He feeds on grbadhoppers and honey and comes from the desert with his dark tongue.A language that doesn? does not belong to the world of communication, a language that defies the game of designations. This is what bothers Salome and what fascinates her.
She falls in love with the language of this logos. She perceives it as a logos and not as a word of language, but she feels the power. The aura will be as mysterious as it is. But the language is mysterious. Then she falls in love with the voice, then in the body. And then this fullness escapes, because it falls into the realm of desire, of desire, that is to say, basically of nothing. This makes it a figure that lives in us.
When the word becomes flesh
Jochanaan represents the world of the logo, says Castellucci, "he speaks a language that defies the game of meanings." [19659012] ORF.at: Who really has the power to be seen and seen in this game? The one with the strong spiritual concept – or the person who desires?
Castellucci: Jochanaan is the attacker, he is the logos. While Christ represents the body, the incarnation, proverbially. From this point of view, Jochanaan is powerful, powerful. The powerful experience of the Logos, who not only promises, but ultimately creates. The beauty of this juxtaposition, this confrontation of matter and antimatter. Salome represents in a way "the perverse incarnation" – in which the logos go through the flesh, but in another way, in a violent way.
You need a weapon for that. She needs a weapon to penetrate the male body. In this sense, it is an erotic body, perhaps not badual, but erotic. This certainly represents an extraordinary misunderstanding of the logos in Jochanaan
Pictures and see
Castellucci believes that he is confused with the designer of a theater characterized primarily by the imagery of the world. ;picture.
ORF.at: What happens when the logo is visible? Your work is always spoken of the "tyranny of the gaze" …
Castellucci: It is very interesting to see how the visible is determined by the resistance of the non-visible. An image is an image – if it's an image in the fight with the visible. An image is an image – not just an illustration, when there is a fight in the head. An image is only an image when it comes out of the struggle with non-being.
ORF.at
These are philosophical puns, but in the concrete is the daily bread for those who deal with theater or art . The conflict is therefore the resistance with the fleeing component, hiding, so to speak, with the best view. One could say that the art of theater is the art of hiding – how to hide. The reverse movement is illustrative
ORF.at: Can we, even in our digital culture, see only what we believe before?
Castellucci: I think that the contemporary point of view is characterized by the sound of white noise. So for a lack of difference. The abundance of images has a lot to do with the pain of that time. It is a white noise that anesthetizes, which paradoxically prevents the look. All that is visible prevents the view, prevents the experience of the look.
ORF.at
For this reason, certain places and areas remain privileged – and promote awareness of themselves. Theater, maybe some woods or the presence of animals. But there are few domains, very few, in which one becomes aware of seeing something. We see ourselves seeing it I think it's a gesture of reevaluation in an existential political consensus right now.
ORF.at: In your work, the superiority of the images on us is always discussed, for example in "Sul concetto di volto nel figlio di Dio", How should we handle the images today?
Castellucci: I think that advertising is a new form of fascism. People are dominated by their fears and desires. So, they are controlled by advertising. There is a form of totalitarianism hiding behind the images of advertising. It took a Council of Nicea to address the artists. Reflect, rethink, think what it really means to see. What can it mean and if it makes sense to work with images.
And it is not taken for granted that artists are the best advertisers. Advertisers usually have more pointed weapons than artists. You can penetrate much deeper into the spirit. They get to be more religious than the artists. I think it's a very interesting time. An era of big questions, issues that should be as radical as the advertising of today.
The interview was conducted by Gerald Heidegger, ORF.at
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