Genesi -
from the Museum of Sleep by Societas Raffaello Sanzio
at State
Theatre October 24 to October 27, 2002
Melbourne International Arts Festival
Reviewer:
Kate Herbert
The Genesis,
the genetic, the genital: all are elements of Genesi - from the Museum of
Sleep. Director, Romeo Castellucci, takes the first book of The old Testament as the seed for this strange product of
Italian experimental theatre company, Societas Raffaello Sanzio.
The play is
in three parts: the creation of Adam and Eve, Auschwitz and Cain and Abel.
This is not
conventional linear narrative theatre. It is more a collage of images, moments,
inflections and reflections upon the notion of genesis, humanity and man's
foibles and horrors.
Threaded
through these loose narrative points are images of and references to Auschwitz,
race, science and invention and human vulnerability.
The
cavernous State Theatre is draped in curtaining, littered with sand, bodies and
anachronistic gadgets. In the Garden of Eden, the contemporary scientific
object collides with primitive, naked mankind.
When Cain
murders Abel, two live dogs amble aimlessly around them, sniffing the dirt
ignoring the violence of the men.
In the
background of part one, sheep mate, a primordial crocodile lowers over the
scene, a contortionist cracks his bones horribly and a Hebrew ritual
establishes the Biblical intent..
Part two has
the atmosphere of a child's nursery. Children, some of whom are Castellucci's
own, play voicelessly, moving in totally abstract choreography (Claudia
Castellucci). Finally, one is slaughtered
and the others are gassed in this metaphorical Auschwitz showers.
The lighting
is dim and evocative with much back-lighting through scrims, shadow work, stark
spotlights.
The
soundscape (Chiara Guidi) is at times percussive body thumping rhythm and at
others lyrical and haunting.
Says
Castellucci, "Divine creation unleashes the problem of possibilities. It
creates an open sea of possibilities.
That is terrifying."
It is the
near chaos of the montage of images and the cacophony of sound that we see and
hear that is so compelling and disturbing.
The floor
has no solidity as it rolls like waves. Children are murdered. Brother kills
brother. Time is non-specific. Meaning is like dust in our hands. We cannot
make it solid.
There is
little speech. The phys ical and palpable is foremost. Actors appear with
different deformities: a withered arm, a breast missing. All are totally
rivetting.
To see
Genesi is to witness n epic that leaves one with a flood of sensations and
despair in many ways. It is also very beautiful.
By Kate
Herbert
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