Pasolini: un poeta maldito en la encrucijada de sus edipos
Perrés Hamaui, José
Tramas
No. 13; Diciembre 1998
Págs. 161-188
Resumen
El autor se propone reflexionar sobre el gran poeta y cineasta italiano Pier Paolo Pasolini, a partir del análisis de tres dimensiones "edípicas" presentes en su vida y en su obra, dos de ellas referidas a sus creaciones artísticas. Por una parte su famosa adaptación cinematográfica del Edipo Rey de Sófocles (1967), por otra, su drama teatral Fabulaciones, de 1966, que ha recibido mucho menos difusión, y que no es otra cosa que una provocativa e insólita paráfrasis de dicho mito. Para el análisis de estas obras, totalmente contemporáneas entre sí, de Pasolini-creador, se aborda, como tercera dimensión esencial, las consideraciones sobre Pasolini-sujeto psíquico, su historia, y los avatares de su propio itinerario edípico, tanto estructural y constitutivo, como vivencial; vale decir sus Edipo-estructura y Edipo-fase. El análisis efectuado supone precisamente un complejo entramado en el que todos estos hilos van entretejiéndose para ir mostrando, con luces y sombras, a veces tan solo penumbras, la fuerza arrolladora del proceso creativo.
Abstract
In this article the author's purpose is to reflect about the great italian poet and filmmaker Pier Paolo Pasolini through the analysis of three "oedipical" dimensions presented in his life and production. Two of them refer to his artistical creations. On the one hand his well-known adaptation of Oedipus the King (1967) of Sophocles, and on the other hand, his theatrical drama Fabulations (Affabulazione), of 1966. This second one has received much less diffusion than the first and is nothing but a provocative and singular paraphrase of the myth. To analyze these creations which are contemporary among themselves, the "Pasolini-creative author" is taken as a third essential dimension: the considerations regarding "Pasolini-psychical-subject", his story, an the fluctuations of his own oedipical itinerary, as structural and constitutive as existence. That is to say, his Oedipical-structure and Oedípical-phase. The analysis made in this article supposes a very complex net in which all threads are being knitted showing with light and shadows, and sometimes only twilight, the overwhelming strength of the creative process.
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