Cristo ‘63 was one of the most radical experiments in Carmelo Bene’s activity in the Sixties. Besides the cultural scandal it caused on the night of January 4, 1963 at Teatro Laboratorio, this one-day event opened a new direction for Bene’s stage writing. Bene planned the performance starting from his reading of James Joyce’s Ulysses and applied the creative procedures of this work to the stage. His original idea was to re-enact allegorically the ordinary life of the Teatro Laboratorio, as Joyce did with his life, writing his book. Bene focused especially on Proteus, the third episode of the novel, where a walk on a beach becomes an experience for a different perception of the world. Reading extracts of this episode on stage was only one of the several fragments used by Bene to provoke a new aesthetic perception in actors and spectators. In this experiment, Bene involved several visual artists such as the painter Alberto Greco and the photographer Claudio Abate. It is their contribution to the performance that In fact offer us many valuable elements to ideally rebuild Cristo ’63 and understand the real meaning of Bene’s experiment.
Marta Marchetti è ricercatrice in discipline dello spettacolo all’Università di Roma “La Sapienza”. Ha pubblicato i volumi Camus e Dostoevskij. Il romanzo sulla scena (Bulzoni 2007); Guardare il romanzo. Luca Ronconi e la parola in scena (Rubbettino 2016) e articoli e saggi sul teatro europeo tra XVIII e XX secolo. Ha tradotto e curato l’edizione italiana di Anne Ubersfeld, Leggere lo spettacolo (Carocci 2008) e J. Copeau, La messinscena de Le furberie di Scapino. Note di regia (Bulzoni 2017). email@example.com