In June 2005 "Engramma" no. 49 published the docu-essay Gassman, Pasolini e i filologi, edited by Monica Centanni and Margherita Rubino: the video was originally realized for the exhibition "Vittorio Gassman, Elena Zareschi: due protagonisti al Teatro greco di Siracusa" (Syracuse, Palazzo Greco, Museum of the Istituto Nazionale del Dramma Antico, June-December 2005). The docu-essay focuses on an important event in Italian culture, through letters and theatrical reviews, interviews and unpublished documentary material from the INDA Archive: the translation of Aeschylus’ Oresteia by Pier Paolo Pasolini in 1960. The adaptation of the ancient text by the most scandalous among contemporary poets was promoted by director and actor Vittorio Gassman specifically for his staging of the Aeschylus in Syracuse. The video is republished here with a transcription of the script and a new introduction by Silvia De Laude, a ‘work in progress’ on the pivotal encounter of Pasolini with the Oresteia. Pasolini's translation was indeed a radical turning point both in 19th century performances of ancient drama in Italy and in the work of the poet himself, as it reverberated in his later writings, from Orgia, to Bestia da Stile, to Appunti per un’Orestiade africana. The ghost of Clytemnestra and the Erinyes, for instance, emerge when Pasolini, forced to inaction by the disease and haunted by his own phantoms, stages, according to the model of ancient tragedy, the characters of his inner theatre; Aeschylus’ characters are finally embodied in the atavistic culture of modern Africa, where the poet displaces the transition from tribal civilization to democracy, an interpretation indebted to the performance staged in Syracuse eight years before.
Gassman, Pasolini e i filologi. Orestiade a Siracusa 1960: saggio-documentario
Centanni, Monica;
2016-01-01
Abstract
In June 2005 "Engramma" no. 49 published the docu-essay Gassman, Pasolini e i filologi, edited by Monica Centanni and Margherita Rubino: the video was originally realized for the exhibition "Vittorio Gassman, Elena Zareschi: due protagonisti al Teatro greco di Siracusa" (Syracuse, Palazzo Greco, Museum of the Istituto Nazionale del Dramma Antico, June-December 2005). The docu-essay focuses on an important event in Italian culture, through letters and theatrical reviews, interviews and unpublished documentary material from the INDA Archive: the translation of Aeschylus’ Oresteia by Pier Paolo Pasolini in 1960. The adaptation of the ancient text by the most scandalous among contemporary poets was promoted by director and actor Vittorio Gassman specifically for his staging of the Aeschylus in Syracuse. The video is republished here with a transcription of the script and a new introduction by Silvia De Laude, a ‘work in progress’ on the pivotal encounter of Pasolini with the Oresteia. Pasolini's translation was indeed a radical turning point both in 19th century performances of ancient drama in Italy and in the work of the poet himself, as it reverberated in his later writings, from Orgia, to Bestia da Stile, to Appunti per un’Orestiade africana. The ghost of Clytemnestra and the Erinyes, for instance, emerge when Pasolini, forced to inaction by the disease and haunted by his own phantoms, stages, according to the model of ancient tragedy, the characters of his inner theatre; Aeschylus’ characters are finally embodied in the atavistic culture of modern Africa, where the poet displaces the transition from tribal civilization to democracy, an interpretation indebted to the performance staged in Syracuse eight years before.
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