로메오 카스텔루치 <창세기; 잠의 박물관으로부터>와 감각의 정치극: 신 없는 창조, 말 없는 무대

초록

This dissertation examines Romeo Castellucci’s performance Genesi: From the Museum of Sleep (1999), exploring the possibility of a “post-political theatre” through the suspension of speech and the reconfiguration of sensibility. Castellucci’s stage does not merely employ biblical motifs as decorative devices, but rather exposes and simultaneously dismantles the politico-theological structure of com mand and naming from within. To illuminate this strategy, the study adopts Giorgio Agamben’s Il tempo che resta as its theoretical framework, drawing on his concepts of “cessation of the law,” “non-performative language,” and the “ethics of inoperativity” to interpret the performance’s sus pended utterances, juxtaposed images, and rhythms of failure and repetition. In particular, Agamben’s notion of messianic time—the “time that remains” which emerges in the interval where the estab lished order is halted—resonates with Castellucci’s staging of Genesis as a sequence of scientific ex periments and failed repetitions, Lucifer’s unfulfilled Hebrew recitation, and the juxtaposition of im ages and silences. Rather than reconstructing an origin from the past, the performance reopens an “inaugural moment” that has not yet arrived within the present, offering a new theatrical experience in which law and authority are suspended and a sensory ethics takes form. Thus, Genesi should be understood not as a work reliant on religious devices, but as a strategic experiment that stages and simultaneously neutralizes politico-theological speech, presenting a paradigmatic instance of “theatre without politics” and an opportunity to rethink the political potential of sensibility.

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