The father and the son

Impressions of the students

Von Federica Pamio

“You’re my shepherd. You are not my shepherd”

In my opinion, it is the doubt that allows men to feel alive. Asking questions, questioning everything, even the strongest and firmest reality, including oneself…so that rules and banalities, as well as certainty and conformism, can’t overcome you.

It has all already been created, decided, shaped… so what’s left to us nowadays?

Romeo Castellucci’s performance aroused me these remarks. Among the 4 performance I’ve seen, this is the one I liked the most.For the shameless hyperrealism brought on stage, for the acrid smell that “could not be true”, for the grenades’ noise thrown by “innocents to an innocent”, for the magnificent reproduction of the Antonello da Messina’s painting disfigured and humiliated.

Von Christopher Jones

Fæder ūre, þū þe eart on heofonum…

Shit stained sofa.

Shitsmell fills the theatre, and the face of the audience contorts

Tenderly, a son tends his father, his creator.

Requiem æternam dona eis, Domine

A memory.

Exchanging fluids – the closest relationship.

Sex and death and death and sex. All here.

on eorðan swā swā on heofonum.

And we rage against what we can’t touch, can’t sense.

What we can’t change.

What we seek to destroy.

Ideas don’t die. And still the face of TJ Eckleburg, the face of God, staring, impassive.

The father, and the son.

Amen

Von Vera Gertz

One of the most striking scenes to me was the children throwing hand grenades at the canvas depicting Jesus’ face. The sound of the exploding grenades is massive and soon drowns out almost everything else – even the sound of a game of indoor basketball.

Von Elena Carr

I was impressed by the play Castellucci. It was the first time, I saw such an intelligent and sensitive peace about an religious field. The human reincarnation of god, that lived over 2000 years ago, to spread his message to the world, was discussed in the play in the perspective of our time in 2011.

The picture, that was treated by the actors was there like a permanent watcher, in the end we saw the picture destroyed by humans. But they did not destroy Jesus, it was an altercation with him and what the Christian church did with him.

Von Philipp Watkinson

The effect of Castellucci's piece was not unlike that which I had experienced from watching the plays of Samuel Beckett Eugene Ionesco. Like Theatre of the Absurd, the piece presented an exploration of the bleakness of the human condition and the ultimate failure of human beings. This was explored and explicated not through absurdity, nonsense and surreal situations but through a form of hyper-reality and naturalism.

Von Mateusz Wojtasinski

The Romeo Castelluci spectacle „On the concept of the face regarding the son of god” looked at first like something very shocking. But it turned out to be a nice work using many effective tricks. Protests against this spectacle are futile because it’s not a theoretical insult to God but it depends on every audience how they are going to see it. The shocking finish was just a good way to show how people respect the person of the Lord.