Tragedia, at first glance, was as far from average as anything comes. Being honest, I struggled to find any reasonable explanation for any of it. Though there are references to real world events, such as the death of anti-globalisation protestor Carlo Giuliani in July 2001 which is mirrored through the opening of Tragedia in which “an adolescent boy lies on stage…wearing a white shirt, black pants and a black ski mask” (Ridout 182), the action of the performance takes place in somewhere not entirely grounded in reality. The use of the metalli...
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...ble to recognise [themselves] in [the actors]” (8). Juxtaposed against the tradition of tragedy in which “there is no hope in the finale…everything ends with a non liquet, something unresolved…” (Castellucci 71), Tragedia’s lack of resolution leaves much of its emphasis to “the soul of the individual spectator” (71). This entails that any meaning we assign to it we do so in an attempt to gain our own resolution and thus individual reactions to the performance are grounded in the personal subjectivity of each audience member.
Ultimately, my personal vexation with the performance is exactly the kind of reaction such a piece was craving. It forced the evocation of emotions and ignored the pursuit of meaning, favouring instead uncomfortable ambiguity that left as much or as little as one was willing to look. I still did not enjoy it, but I suppose I was not meant to.
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