Dall'Orestea all'Orestiade. Pasolini traduttore di teatro greco, per il teatro greco e non solo

Opposed to the success with both audience and critics obtained by the renowned Pasolinian version of the Oresteia staged in 1960 at the Greek theater of Syracuse by Vittorio Gassman under the direction of Luciano Lucignani, strong reservations have been expressed by the academic world. Scholars have primarily criticized it for a slavish adherence to the French translation by Paul Mazon, one of the three modern versions explicitly acknowledged by Pasolini as the sources he employed, listed in the Lettera del traduttore. In this paper, an attempt will be made to decipher the methods, meanings, and purposes of the distinctive anticlassical and antirhetorical operation of translation/transposition carried out on the Aeschylean hypotext for the staging in carried out in Syracuse. This will be done by comparing it with Pasolini's further forms of rewriting/adaptation of other texts from ancient Greek tragedy for cinema and literature, with the goal of redeeming its faithfulness, originality, depth, and acuteness.