Che cosa sono le nuvole? El theatrum mundi de Pier Paolo Pasolini
Loading...
Download
Official URL
Full text at PDC
Publication date
2023
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citation
Coriasso Martín-Posadillo, C. (2023) "Che cosa sono le nuvole? El theatrum mundi de Pier Paolo Pasolini", Res Publica: revista de historia de las ideas políticas, 26(2), pp. 323-329. Disponible en: https://doi.org/10.5209/RPUB.86835.
Abstract
Che cosa sono le nuvole?, cortometraje realizado en una semana en 1968, rodado entre Edipo Rey y Teorema, constituye un privilegiado manifiesto de la poética intermedial de Pier Paolo Pasolini. Funciona, como han puesto de relieve diferentes autores, como una suprema mise en abyme de la metáfora del mundo como teatro, pero dentro del cine. Una vez más, es la fricción entre medios, en la tematización del teatro a través del cine, lo que posibilita a Pasolini reavivar su mímesis. Ver cómo Pasolini modula y repronuncia el tópico del theatrum mundi en esta inagotable conglomeración de sentidos, que aquí solo podremos esbozar, nos devuelve, gracias a la magia de la metáfora, limitada pero verdadera, su teoría poética de la realidad.
Che cosa sono le nuvole?, a short film made in a week in 1968, shot between Oedipus Rex and Theorem, is a privileged manifest of Pier Paolo Pasolini’s intermedial poetics. It works, as different authors have highlighted, as a supreme mise en abyme of the metaphor of the world as theater, but within the cinema. Once again, it is the friction between media, in the thematization of theater through cinema, which makes it possible for Pasolini to revive his mimesis. Seeing how Pasolini modulates and repronounces the topic of the theatrum mundi in this inexhaustible conglomeration of meanings, which we can only sketch here, brings us back, thanks to the magic of metaphor, limited but true, his poetic theory of reality.
Che cosa sono le nuvole?, a short film made in a week in 1968, shot between Oedipus Rex and Theorem, is a privileged manifest of Pier Paolo Pasolini’s intermedial poetics. It works, as different authors have highlighted, as a supreme mise en abyme of the metaphor of the world as theater, but within the cinema. Once again, it is the friction between media, in the thematization of theater through cinema, which makes it possible for Pasolini to revive his mimesis. Seeing how Pasolini modulates and repronounces the topic of the theatrum mundi in this inexhaustible conglomeration of meanings, which we can only sketch here, brings us back, thanks to the magic of metaphor, limited but true, his poetic theory of reality.