Abstract
In Greek tragedy, divine entities are not represented, but presentified through the performative power of the spoken word: this particular relationship with the invisible invites us to question theater as a form of interpretation.
Contemporary staging can also create the invisible by reappropriating pre-existing mythologies. Lia Rodrigues' performance Encantado (2021) takes up the paradigm of the presentification of the invisible: it repopulates the cosmos with beings from Afro-American Indian mythology, reread through contemporary postcolonial consciousness. Romeo Castellucci's Bros (2021), on the other hand, draws on the Christian paradigm of Revelation to stage the transformation of divinity into a secularized, tyrannical idol, and the confusion between divine transcendence and human omnipotence.
Such stagings are sensitive experiences capable of explaining, in the etymological sense of unfolding, mythologies, and interpreting our relationship with the invisible.
