1971 marks the year in which Pier Paolo Pasolini inaugurated his "Trilogia della vita" (“Trilogy of Life”) with a “Human Comedy”, namely the Decameron. Through an intersemiotic transfer from the written page to the audiovisual text, Boccaccio’s masterpiece not only transcends the socio-historical intricacies of the century that engendered the work, but it also becomes revitalized within the multifaceted terrain of art – specifically that of Pasolini – to become a great media success. In his liberal reinterpretation of Boccaccio’s work, Pasolini’s intent was to rework from the inside what critics and philologists had elaborated from the outside. Therefore, the end product is an intimately poetic transcreative film, which is, at the same time, the hermeneutical re-elaboration of an intellectual overwhelmed by the melancholy of an eclipsed world: that of the common people. With this contribution, Tuccini proposes to meditate on the ideological implications and aesthetic line of thought in Pasolini’s remake, while capturing in the revisited text the stylistic contingencies and emotional reasonings of a poet of the cinema.
Nel 1971, Pasolini inaugurava la "Trilogia della vita" con una "commedia umana", il Decameron. Attraverso l'operazione intersemiotica dalla pagina scritta al testo audiovisivo, l’opera di Boccaccio non solo trascende la complessità storico-sociale del secolo di riferimento, ma si rinnova anche nel territorio poliforme dell’arte - quello pasoliniano - per approdare ad un nuovo successo mediatico. Rileggendo liberamente il capolavoro di Boccaccio, Pasolini ha voluto rifare dall’interno quello che critici e filologi hanno rifatto dall’esterno. Ne risulta, quindi, un film che è al tempo stesso opera transcreativa - intimamente poetica - e ricostruzione ermeneutica di un intellettuale assalito dalla malinconia di un mondo eclissato: quello popolare. Con questo intervento, Tuccini riflette sui risvolti ideologici e il tracciato estetico della riscrittura pasoliniana, cogliendo in controluce, nel testo rivisitato, le contingenze stilistiche e le ragioni emotive di un poeta del cinema.
Poetiche transcreative del Boccaccio filmato. Un’interpretazione del “Decameron” di Pier Paolo Pasolini
Tuccini, G
2023-01-01
Abstract
1971 marks the year in which Pier Paolo Pasolini inaugurated his "Trilogia della vita" (“Trilogy of Life”) with a “Human Comedy”, namely the Decameron. Through an intersemiotic transfer from the written page to the audiovisual text, Boccaccio’s masterpiece not only transcends the socio-historical intricacies of the century that engendered the work, but it also becomes revitalized within the multifaceted terrain of art – specifically that of Pasolini – to become a great media success. In his liberal reinterpretation of Boccaccio’s work, Pasolini’s intent was to rework from the inside what critics and philologists had elaborated from the outside. Therefore, the end product is an intimately poetic transcreative film, which is, at the same time, the hermeneutical re-elaboration of an intellectual overwhelmed by the melancholy of an eclipsed world: that of the common people. With this contribution, Tuccini proposes to meditate on the ideological implications and aesthetic line of thought in Pasolini’s remake, while capturing in the revisited text the stylistic contingencies and emotional reasonings of a poet of the cinema.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
