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

Contents
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 area (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 in regards to 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 no longer 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 performing (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 photograph, where, the drama, us (Claudia Castellucci)
To dwell 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 concerning the future

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

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A gauze fills the proscenium. a lady donning a white costume in nineteenth-century kind is on her knees in entrance of a wall coated with floral wallpaper. Her wrists are tied including a silk wire, with a couple of stylish tassels an analogous color because the wallpaper. Her head is reduced. She increases her head and appears up. The wire is pulled upwards. (Marco, on Chiara’s sign. ) the girl makes numbers together with her palms. She turns her head backwards and signs no. The wire is pulled up once more. The wire pulls till the lady will get to her ft. She turns round instantaneous conserving her palms raised. She returns to a place along with her again to the viewers. The wire is pulled in order that she will be able to loose her palms. She frees one arm after which the opposite. She massages her wrists, and together with her correct hand touches the ends of her hair down her again, whereas with the opposite she touches the head of her head. She straightens her hair along with her fingertips. The tassles are pulled upwards till they vanish. (Marco. ) the girl brings her fingers right down to her aspects and pulls demanding along with her fists. She turns her head in 3 snaps in the direction of the viewers (she has a black face), then touches the flower wallpaper together with her finger. Thump. Very loud thumping noise. She scratches a nail opposed to the wall and increases her correct arm. The wall is flown out. (Salvo, Luciano, Fabio. ) . . . from whatever or of anything. development is the fourth approach that we all know of placing a sort jointly: 161 LONDON L. #09 at the inspiration of crescita TRAGEDIA ENDOGONIDIA 2002–4 sculpture: in terms of elimination; plastic arts: in terms of including; fusion: in terms of percolation; and progress (crescita): when it comes to endocrinal accretion. consequently, it has to do with anything that grows from a physique and develops by itself, even though closing associated with that physique. Crescita is a theatrical motion that endows the whole arc of Tragedia Endogonidia, on which it relies, with its specific means of bringing issues into concentration. Crescita, for that reason, isn't an independent motion: it derives from the episode to which it refers (in the preliminary of the identify) and develops one element of it, one item. the belief at the back of Tragedia Endogonidia is, in impression, that of a notion which strikes round and multiplies; it really is moved from urban to urban and multiplies from spectator to spectator. Its stream is that of ramification, just like the delta of a river. Its tendency is to beat the land round. it's, like any organism, preferably perpetually. Crescita is a round dramatic motion, a rotating push that produces concentric ripples. it really is just like the engraved cylinders of the Sumerians which, while rolled over a pill of clay, inform a hero’s story that has neither starting nor finish, that has no use for starting or finish. the elemental trait of the crescita is the transversal constitution of an motion which may shock with its depth and brilliance. The spectator is inserted into the motion at a tangent, and what she sees is the very fact of being ahead of an motion during this exact and synchronic size of time.

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