By Joe Kelleher, Nicholas Ridout, Claudio Castellucci, Romeo Castellucii, Chiara Guidi

Introduction: the spectators and the archive (Joe Kelleher and Nicholas Ridout)

PART ONE: Makers and spectators, Tragedia Endogonidia 2002–4
Laboratory, 2001
Letters to Scott Gibbons (Chiara Guidi)
Making house (Claudia Castellucci)
System, features and workings for a tragedy of gold (Romeo Castellucci)
On the Earth’s level (Romeo Castellucci)

C.#01, Cesena
Letters to Scott
An organism at the run (Joe Kelleher)

A.#02, Avignon
A letter concerning the goat that gave its identify to tragedy (Romeo Castellucci)
First grammatical workout with twenty amino acids (Chiara Guidi)
Letter to Scott
From the ultimate script of A.#02
Night, writing, gesture (Joe Kelleher)
The type of a blot (Claudia Castellucci)

B.#03, Berlin
Letters to Scott
From the ultimate script of B.#03
A play of grief (Joe Kelleher)
From the ultimate script of B.#03
On being there (in the start) (Nicholas Ridout)
On now not being there (Berlin) (Nicholas Ridout)

BR.#04, Brussels
Letter to Scott
Storytime (Joe Kelleher)
Out within the open (Nicholas Ridout)

BN.#05, Bergen
Fluid earth

P.#06, Paris and R.#07, Rome
Letters to Scott and Marco
Modern appearing (Nicholas Ridout)
Somebody, anyone (Joe Kelleher)
Letter to Scott
From the ultimate script of R.#07
Monkey company (Nicholas Ridout)
From a talk approximately dramaturgy
The Italian comedy (Joe Kelleher)

S.#08, Strasbourg
Letters to Scott
Earth and glass (Joe Kelleher and Nicholas Ridout)
A dialog approximately dramaturgy, contd.

L.#09, London
A dialog approximately dramaturgy, contd.
From the ultimate script of L.#09
On the assumption of crescita (Romeo Castellucci)
Francesca and the machines: on Crescita XIV Prato (Joe Kelleher)
From the ultimate script of L.#09
A theatre dream (Joe Kelleher)

M.#10, Marseille
From Marseille sketch
Letter to Lavinia
Asking for it (Nicholas Ridout)
From the ultimate script of M.#10
Beware what you would like for (Nicholas Ridout)
The photo, where, the drama, us (Claudia Castellucci)
To stay episodically (Claudia Castellucci)

C.#11, Cesena
From the technical script for C.#11
On make-believe (Nicholas Ridout)
From the ultimate script of C.#11
The attraction (Joe Kelleher)

PART : Conversations
‘The theatre isn't really our home’: a talk approximately area, level and audience
A dialog approximately dramaturgy, contd.
A dialog approximately pretence and illusion
A dialog approximately composition
A dialog approximately rehearsal
A dialog approximately gesture
A dialog in regards to the future

PART 3: Disjecta Membra
Entries from a pc of Romeo Castellucci

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The figure remembers the corpse of Carlo Giuliani, the younger guy killed through police in the course of well known demonstrations opposed to neo-liberal globalisation on the G8 summit in Genoa in summer time 2001. A moment younger guy, black trousered like a carabiniere, bare-chested, steps into the field, glances at us for a second, then positions himself sideways directly to our gaze and sings what could be a lullaby or a lament. regardless of the lyrical style, the singer plays with such an undemonstrative dignity that the musical gesture doesn't succumb to collecting the ‘victim’ into the short-circuit of a sentimental appropriation. The language of his making a song is unexpected and untranslated. His voice, too, is so excessive, kind of like a child’s soprano, and his thoracic muscle mass so visibly nonetheless, that the sound turns out at moments to return from another resource than the singer’s voice. The golden room now could be an open burial chamber on the face of which, just like the 3 Marys 2,000 years in the past in Jerusalem collecting on the tomb of 1 crucified by way of the equipment of nation terrorism, we're met by way of an angel. The angel of theatre, in spite of the fact that, can't – in all moral sense – testify to a resurrection. He can in simple terms draw a line on the restrict of the appearance and element us in the direction of a messy and difficult inheritance, to be labored via on our facet of the road, again on the planet of historical past and politics, of ethics and economics. The singer finishes his track and, ahead of he leaves, he stretches wires diagonally around the face of the field. present passes in the course of the wires and so they glow in a sizzling ‘X’. this is often the restrict of the semblance, a double line, at one and a similar time a mark of erasure and the id of a pinpoint position. It says: this is often the place to seem. It says: this can be where the place having a look breaks down. The video display descends back. The room is darkened, and the sound turns into assaultive, fixated upon the pumping beat of what should be the theatre’s personal respiration forty four system. This sound touches us too it kind of feels, in detail, somatically, every one people in our personal blood. The repetitive beat is like whatever knocking for front on the door of my sensations, insistent, unforgiving, an adventure exacerbated through the projection on reveal of random alphabetic inscriptions which, because the projections speed up, velocity right into a strobic blur of blots and splatterings. If catharsis has a position, it really is possibly right here, neither within the adventure of spectators nor protagonists yet within the platforms that carry us even as in universal and aside: our respiring, our languages. Voyager’s crib of human messaging platforms is right here zapped again at us, purified, translated and with the maximum urgency. yet it is a language we slightly know the way to play with but. The issues we would articulate in any such language, the ‘we’ that this non-community may well develop into via articulating and realizing such issues, are nonetheless to be imagined. The video stops and the brutal, simplistic, increase growth growth of the theatre organism, this pseudoorganism, this stranger of our personal making, keeps it slow in right darkness.

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