ABSTRACT
The faux-theatricality of the scene – the dogs are manifestly trained to within an inch of their canine senses and are possibly the best paid living organisms we will see in the next twenty-four hours – mixes humility with the grand gesture. Humility in the announcement: ‘Je m’appelle Romeo Castellucci’, a fact not doubted by a well-informed, festival-going, theatre-expert public in Avignon who in annual succession have witnessed his direction of Giulio Cesare (1998), Journey to the End of the Night (1999), Genesi (2000), Tragedia
Endogonidia Episode A2 (2002), Tragedia B3 Berlin and Tragedia BR4 Brussells (2005) and Hey Girl! (2007).2 The definition of a grand gesture might as well be this centre stage introduction in the Cour d’Honneur with the founding text of Italian culture in the founding seat of Papal peripateticism.
