로메오 카스텔루치의 《오레스테아; 유기적 희극 ?》 - 영광의 무대와 붕괴하는 왕권: 해체된 비극과 유기적 희극의 감각

초록

This article examines Romeo Castellucci’s Orestea; una commedia organica? (1995) to analyze how the stage, after the dismantling of the political-theological structure of ancient tragedy, can constitute a new politicality. Whereas Aeschylus’s Oresteia stages the formation of sovereignty, the origin of law, and the transmutation of violence, Castellucci refuses faithful reproduction of plot and form; instead he reconfigures relations of utterance, action, and character to deactivate (render inoperative) tragedy’s political and formal ground. In other words, the tragic form and its political function suspend themselves and open a margin for other uses (uso). Methodologically, the study reads three focal sequences—Cassandra’s glass-box, Clytemnestra’s excessive body, and the choral shift of speech—through Giorgio Agamben’s concepts of the state of exception and inoperosità (inoperativity), with Jacques Rancière’s distribution of the sensible and Gilles Deleuze’s blocks of sensation as auxiliary lenses. Castellucci redistributes the relations between violence/law, sovereignty/sacredness, and speech/silence, dissolving the consensus-producing space of classical tragedy and making legible the conditions of a “politics without politics.” The suspension of utterance and the reassembly of sensation converge as an ethics of testimony, while the piece’s subtitle—“organic comedy?”—signals the emergence of a body- and sensation-centered stage order after the removal of authoritative regimes. Consequently, Orestea weakens the inherited politicality of tragedy yet, in the very space of that undoing, constructs a renewed political sensibility and a non-political ethics. The case shows that contemporary theatre’s political force can operate not only through representation or narrative transmission, but also through the suspension of utterance and the redistribution of the sensible.

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