Los instintos de Medea y su validez en la visión de Pier Paolo Pasolini

• Autores: Silvia Donoso Hiriart
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 612-617
• Idioma: español
• Texto completo no disponible (Saber más ...)
• Resumen

  • We focus on the existing relationship between the dramatic piece by Euripides and its re-interpretation by Pasolini.Emphasizing on Medea’s character treatment and its implications, we observe as the controversial Italian filmmakerforges the figure of this furious woman from the viewpoints of interest to him, picking up elements that, although partof the story in Euripides piece, are outside the narrative, and avoiding others that in the Greek version are treatedwith greater depth.The artist approaches the archaic and primitive, which is often associated to the “third world,” because it is in thesecultures where some of the sacred is found (not understood as religion, but in relation to the reflection presented atthe beginning of the film, in the figure of the centaur). The wide and deserted spaces of Medea evoke an immemorialtime that addresses the roots of civilization, before it turned its focus towards progress, since the filmmaker doesnot share the principles that sustain it. From his perspective, what is pure seems to be anchored in the past, and thequintessential and instinctive hold a sacred tone. The constant display of natural landscapes, semi naked people,sexual encounters, and ritual situations reveal the aspects that he wants to highlight, all gathered in the barbaricfigure of Medea; all of it placed in African and Turkish settings, in agreement with Pasolini’s emphasis. Maria Callasis also a deliberate choice.