ABSTRACT
Nurtured by a baroque imagination that works with highly charged feelings and a controversial vein that is both provocative and deeply felt, Rodrigo Garcia’s performative theatre also deals with the theme of the relationship with the Christian tradition. Christ as manipulated and exploited by the institutions that hold power has eclipsed the Christ of human suffering, leaving bewildered humanity a prey to nothingness. The fragments and visions, assembled by association, compose a discourse that is both a denunciation-rejection of the world, in particular the present world, and a philosophy of life which reverses the Christian message and the Gospel story. The naked body is sprayed with strokes of livid colour and the colour of blood, violated or degraded in animal contortions and movements, in erotic aggressions, disguises or obscene parodies of the rituals of beauty, increasingly mingled with the incursions of the body of the dead Christ.
