Socìetas Raffaello Sanzio and their Cryonic Chants in Budapest

2011.02.08. 18:27


Objective chants and poems drawn from an impassive animal. "Scott Gibbons' music creates a sense of unease with its rumbles, pops and screams that feels as if it is happening inside your own head." (The Guardian)

Throughout the development of the dramatic cycle Tragedia Endogonidia, Chiara Guidi worked side by side with Scott Gibbons in a piece closely interweaving sound and its realization. Their research is based above all on the possibility of constructing dramaturgy with the human voice and the sound derived from it. The Cryonic Chants is an electro-acoustic concert - a sort of sound- funnel into which part of the music universe of the Tragedia Endogonidia Cycle develops, in particular the part that has as its main object the alphabet and the verbal language - generated by the sounds and texts of the Tragedia Endogonidia system, performed live by the authors and vocalists Claudia Castellucci, Teodora Castellucci and Monica Demuru.

Societas Raffaello Sanzio
Societas Raffaello Sanzio

"Scott Gibbons' music creates a sense of unease with its rumbles, pops and screams that feels as if it is happening inside your own head." (The Guardian)

The Raffaello Sanzio theatre collective are probably the most radical exponents of nuevo teatro in Italy, seeing theatre as a form of art that unites all other forms of art and thus appeals to all of the audience's senses. Coming originally from the visual arts, Sanzio drafts out impressive associative installation and acoustic spaces that are never fully decipherable.

"To immerse oneself in the peculiarities of one's own language to the greatest possible extent" is the aim of the director and author of the ensemble Romeo Castellucci: "Without fear of a lack of understanding or impossible communication; without this fear of having to justify oneself when you evade a conversation or conversations altogether; with a strategy for words and pictures that shape a new reality."

There is always something enigmatically disconcerting about Raffaelo Sanzio's works - the uncompromising consistency in their symbolism. In their tendency towards the myth and in their exhibition of bodies they are not without problems. No: it is one big problem, a challenge. The real remains captured in a symbolic order of the stage like a fly in amber - and the viewer is caught in minutes that last an eternity, so unheard-of, so beautiful, so impossible.

Romeo Castellucci (1960), director; Chiara Guidi (1960), dramaturgist; Claudia Castellucci (1958), writer; they make up the artistic core of the Italian Socìetas Raffaello Sanzio, the theatre company they founded in 1981, in Cesena, Emilia-Romagna region. The general attitude crossing the whole works of Socìetas Raffaello Sanzio, although the various single differences, is just the conception of a theatre meant as art, capable of collecting all types of arts, for a communication directed to all senses and in all directions of the mind.

The majesty of the visual and sound system, availing itself both of the old theatrical craft and of the new technologies, is capable of creating a dramaturgy that disclaims the supremacy of literature. A research into the fields of visual and hearing perception is developed, aimed at studying the effects of new instruments or, more often, at creating brand new machineries.

11 February 8 pm - Trafó - House of Contemporary Arts (Budapest, District 9, Liliom utca 41.)