Romeo Castellucci creates scenes and images that are pregnant with meaning yet never deliver. This is the strength of the theatre of Romeo Castellucci. His work borders on sense, from both sides, that is, from non-sense or the non-sensical on the one hand and from overdetermined symbolism on the other. As a viewer you are left to piece the different elements together into a coherent whole. Questions remain. There are always some symbols left over, while others are missing.
In L´Affaire Martin! Occupe-toi de Sophie! Par la fenêtre, Caroline! Le mariage de Spengler. Christine est en avance, or L’Affaire Martin! Etc. for short, René Pollesch has turned the language of postmodern philosophy into the stuff of comedy.
Towards the end of Imperium by La Fura dels Baus a half naked girl with silver body paint tried to hide behind me as another girl, also half naked, threw a bucket full of water at her. I ended up with wet trousers and a wet jacket. A moment later another girl followed suit with a bucket full of rice. This time I didn’t get the full load. I was lucky. Other people in the audience were hit by a lime gun and a bucket of water, in either order.