(Per Grazia Ricevuta)

Tableaux Vivants from Michelangelo Merisi da Caravaggio’s works


with Gaetano Coccia, Francesco O. De Santis, Antonella Parrella

mise-en-scene: Teatri 35


Soft drapes and tense muscles. Blades, fruit and incense scent.

Actors as gymnasts, stage designer and models for the painter.

Hanging feathers and weights.

Sacred silence is outraged from the rhythm of the construction.

The paintings are created before the very eyes of the audience, who is involved in a mystic and sensorial experience.

One can feel, taste, touch, breath and see Caravaggio.

The performance “For Grace Received” comes from a long laboratory experience, where the leading role always belongs to the actor’s body.

The final target is not the construction of the painting, but the research of a way of performing where the body is a mere instrument, just as a fabric or a basket. The actor on the stage moves producing sounds, just like his actions were part of a score. Each gesture depends from a train of gears and belongs to a sequence of absolutely necessary movements.

Nothing happens by chance, nothing is superfluous. The dynamic of the construction strikes a balance with the rhythmic suspension of music, with the freeze frame shot of an action in progress, that forces the muscles to stretch, becoming vivid and pulsating. 

Caravaggio has been a providential encounter on our research path. Transforming a laboratory in a performance we re-discovered a kind of theatre where the naturally imperfect body shows itself through a prissy play of light and shadow, that unveils things instead of showing them.

Just like in Caravaggio’s paintings, a burst of light comes to us “for grace received”.