Scritture d'attore: rifrazioni artudiane nel teatro italiano (Carmelo Bene, Rino Sudano, Societas Raffaello Sanzio)

An ancient inside out philosopheme, CHORA, extrapolated from Timeo and utilized as a virus undermining the inside of platonic metaphysics; the protomodern and criticism’s notion, the SUBJECTILE, taken away from art of painting or sculpture and applied to the theatre; and two exquisitely theatrical concepts, OB-SCENE and FOURTH WALL: the concerted involvement of these four, seemingly heterogeneous, conceptual instruments makes it possible to find out the core of Artaud’s theatricality to be as glacial as the extremely rarefied stage wich Rino Sudano ob- scenely trod; the PHONÉ, dear to Carmelo Bene, far from being the voice, to be its rest; and behind the rest; and behind the iconic proliferation in the Socìetas Raffaello Sanzio’s scene the contrary to hide it self: namely a loathing for the neurotic contemporary compulsion in bringing forth images.