Rolando Perez Betancourt is Cuba's leading film critic. A volume of his film
reviews and other comments on cinema came out here in Cuba more than a dozen
years ago. He writes frequently on film and other big cultural topics for the
daily newspaper Granma. We have added other materials about Pasolini to this
single page due to the broad interest in Pasolini reflected in the Cuban media.
The articles here will
be of particular interest since so many people mistakenly retain the
notion that Cuba today in 2005 resembles in any manner the distorted images
presented in Reinaldo Arenas's autobiographical BEFORE NIGHT FALLS. There
simply is no relationship. Previously we shared Pasolini: The Life and Death
of a Dissident, published earlier in 2005 in the Cuban journal LA JIRIBILLA.
That may be found here:
http://www.walterlippmann.com/docs261.html
Given the complex, contradictory and conflicted history of Cuba's
relationship with its homosexual citizens, the recent upsurge in interest in the
Italian director Pier Paolo Pasolini marks a most significant cultural and
political change. The director, an open homosexual, was assassinated thirty
years ago this month and today the facts about the political nature of his
murder have begun to be publicly disclosed. Pasolini's work is highly regarded
in Cuba and this is the third story I've seen in recent times in the Cuban media
devoted to him and his work. On November 11, 2005 we read in the daily
Granma that this years Festival of New Latin American Cinema, which is arguably
the most important festival in the southern hemisphere, will honor the memory of
Pasolini. This is in line with the festival's "Accent on Cultural Diversity" and
was part of the press conference which was attended by Alfredo Guevara, long the
festival's head. Guevara, who has been a friend of Fidel Castro since they were
schoolmates at the University of Havana in 1945, wore his familiar cape at the
news conference, and often appears at public events wearing this distinctive
clothing.
"Cultural diversity" here in Cuba and and should be understood to mean an
opposition to US capitalist hegemony over the culture of the world. Ignacio
Ramonet, the editor of Le Monde diplomatique has written about this extensively.
An within this contect it's of course self-evident that such discussion of
"cultural diversity" has a clear implication in a place like Cuba as far as its
LGBT population is concerned. A very interesting development...
Walter Lippmann, CubaNews
http://www.walterlippmann.com
http://groups.yahoo.com/group/CubaNews
GRANMA
May 2, 2006
Passion for Pasolini
LONDON. -- The movie SALO directed by the Italian poet and novelist Pier Paolo
Pasolini was voted the most controversial mvie in history according to a poll
publshed this week in Great Britain, ANSA [the Italian news agency] reported. The poll,
taken by the journal TIME OUT among thousand of its readers, the work SALO, or
the 120 Days of Sodom, based on the Marquis de Sade's novel, and which describes
the final days of Italian fascism, was voted the most controversial of all
times. The film caused much debate world-wide when it was taken in 1975, and was
the first movie ever closed by Scotland Yard for indecency. Six years later, the
British Board of Film Classification modified its ban. The film was programmed
and welcomed by Cuban film aficionados during the last Festival of New Latin
American Cinema in Havana.
GRANMA
May 2, 2006
Pasión por Passolini
LONDRES.—El filme Saló, del
cineasta, poeta y novelista italiano Pier Paolo Passolini, fue votado como el
más controvertido de la historia, según una encuesta publicada esta semana en
Gran Bretaña, según reportó ANSA. De acuerdo con el sondeo, realizado por la
revista Time Out entre miles de lectores, la obra Saló o los 120 días de
Sodoma, basada en la novela del Marqués de Sade y que describe los últimos
días del fascismo en Italia, fue votada como la más controvertida de todos los
tiempos. El filme causó mucha polémica a nivel mundial cuando se estrenó en
1975, y el primer cine que la exhibió en Gran Bretaña fue clausurado por
Scotland Yard por indecencia. Hasta hace seis años, en el país solo se podía
proyectar una versión censurada de esa película, pero poco después la British
Board of Film Classification acordó modificar la prohibición. La cinta fue
programada y cálidamente acogida por los aficionados cubanos durante el último
Festival del Nuevo Cine Latinoamericano de La Habana.
http://www.granma.cubaweb.cu/2006/05/02/cultura/artic03.html
=====================================================================
November 2005
CubaNews translations
by Joseph Mutti
November 11, 2005 Granma report on the upcoming film festival
http://www.granma.cubasi.cu/2005/11/11/cultura/artic02.html
=====================================================================
GRANMA DAILY
November 2, 2005
PASOLINI AT 30
ROLANDO PÉREZ BETANCOURT
rolando.pb@granma.cip.cu
A CubaNews translation by Joseph Mutti.
Edited by Walter Lippmann
http://www.granma.cubaweb.cu/2005/11/02/cultura/artic02.html
PASOLINI IN THE 70s
To see a movie by Pier Paolo Pasolini in the sixties or early seventies
involved an intellectual challenge of such vast proportions that you were forced
to grow up at any cost.
Marginality and eroticism coupled with violence were key aspects of
Pasolini’s first films Accattone (1961) and Mamma Roma (1962) which contained
expressive neorealist overtones that would lead him to more experimental and
critical forms of analyzing society, not least bringing to the present
references from the past: The Gospel According to St Matthew (1964), Oedipus Rex
(1967), Theorem (1968), Medea (1969), The Decameron (1971) and especially his
last, Salo, or the 120 days of Sodom - an exemplary combination of a novel by
the Marquis de Sade, Dante’s Inferno, and a portrait of the so-called Salo
Republic, founded by the Fascists in 1943.
Prior to the cinema, Pasolini had moved the Italian literary world with his
novels Ragazzi di Vita (1955) and Una Vita Violenta (1959), rough portraits of
the social inequalities of Italian marginal life he had always condemned in
articles and essays that revealed him to be one of the most lucid and committed
minds of his time. Pasolini not only attacked the right, but also those who from
the vantage point of "progress" do nothing. This led him to write in Corriere della Sera that "hope is a horrendous concept invented by political
parties to ensure its members tow the line."
At 20, Pasolini was arrested by the Gestapo in his native Bologna for
belonging to the Communist Party. In 1943 he escaped from a prison camp and
after the war appeared in Rome writing poems and essays influenced by the
Marxist, Antonio Gramsci.
He was always, as some referred to him, "an uncomfortable intellectual",
which along with his declared homosexuality made him a target for a recalcitrant
right-wing which did not forgive either his movies or his penetrating public
reasoning against the established order.
Thirty years ago on November 2, 1975, Pier Paolo Pasolini was murdered. A
"crime of passion" declared the massive, malicious propaganda in attempting to
reduce the matter to a "spurious dispute" between the artist and a 17 year-old
youth, Pino Pelosi, who sold sexual favors. Many others denounced the existence
of a more complex plot, among them the journalist Oriana Fallaci who was
convinced it was a "political conspiracy."
There were suspicions and even strong evidence that Pelosi was not the
murderer, or at least had been accompanied in the act, but the youth
acknowledged his sole guilt before the courts (if he had admitted to the
participation of others he faced a sentenced of 30 years rather the nine he
received).
After three decades of conjecture and mystery, in May of this year Pelosi,
now a grown man, declared before Italian television cameras that at the moment
Pier Paolo Pasolini got out of the car where they both were, he was murdered by
three people. "And while they beat him mercilessly they screamed at him:
"stinking fag, filthy communist." He was asked why he had not told this to the
courts: "Because they threatened to kill me and my parents if I spoke." Pelosi
said he was now revealing this because his parents were already dead and
possibly the murderers too.
The case has been reopened at the request of Pasolini’s family and perhaps
now people will listen to what film director and friend Sergio Cinti has always
maintained after dedicating a good part of his life to reconstruct the facts
minute by minute: "The judges presided over a fraudulent trial... there were
five attackers with Pelosi as bait because they needed someone to blame for the
crime; he had to agree to their game. It was ‘respectable people’ who had tired
of Pasolini and ordered his murder to shut his mouth."
==================================================
Juventud Rebelde
May 2, 2004
The Passion of Pasolini
Osvaldo Cano (Juventud Rebelde)
May 2, 2004
Carlos Celdrán doesn't waste time on the sidelines, but rather goes all-out to
the very core of an issue. To anyone who wants to check things out on the 9th
floor of the National Theater, the director of the Argus Theater has presented
us with a raw, intense and brilliantly written work. In both the writing as well
as the production, Life and Death of Pier Paolo Pasolini, counts among
some of the very best that has been brought to the stage here in a long time.
The play relates the story of the famous film director, novelist and poet, Pier
Paolo Pasolini. Celdrán offers the Cuban spectator an author of the status of
Michel Azama, a playwright who - as with Koltés - delights in breaking down
facades and exposing the truth. Pasolini, a brilliant intellectual whose
contribution to human spirituality is remarkable and substantial, was,
nevertheless, a victim of incomprehension and intolerance. This is the key to
the play. With Life and Death Azama stops to reflect on how many abuses
are carried out in the name of justice, morals and order.
The investigation, murder, legal procedures, intimacies, successes and
deceptions of Pasolini bond the work together. The biographical character of the
piece, far from feeling the effect, endows it with an air of authenticity that
is both worrying and moving. Before our eyes we see how obstinacy and blindness
destroy a useful life; how moral prejudices can exclude and bury a lucid and
fighting man. Life and Death of Pier Paolo Pasolini becomes something of
a warning - a vibrant way to make us realize, through fiction, how devastating
and distorted reality can be.
The setting is instructively simple. The director centers his attention on
working with the actors, removing anything that might impede communication. The
floor carpeted with sawdust provides an arid image that alludes to the
repressive attitude and violent behavior of the film director's opponents. The
rhythm is furiously paced on occasions, rhythmic in others. The staging lends a
septic air of restraint and containment, producing a sense of exactness.
The scenery is at floor level. The blackened auditorium sets a hard, severe and
mournful air to the staging. On the rough carpet of wooden chips stand several
platforms, a bench, a couch and other elements. Using geometric forms, texture
and color, this was enough for Alaín Ortiz to transmit the image of a rotten,
decadent world. The wardrobe is austere and symbolic. Pasolini is dressed in
light colors, the rest in gray or black. The time, the conflicts, the different
groups and hypocritical simplistic morals of representatives of an artificial
order are illustrated by Vladimir Cuenca, thanks to a design that brings to
perfection the overall concept of the staging.
The lighting by Manolo Garriga places each detail in relief, providing a
setting, underlining. The sound track, put together by Cedrán himself with
fragments of Mozart, Bach and Miles Davis, creates a climate that is fitting,
suggestive, disturbing.
Among the performers, the refined work of Alexis Díaz de Villegas stands out.
His sincerity and simplicity project a truthful and authentic image of the
tenacious Pasolini. José Luis Hidalgo depicts several characters with
professionalism and accuracy. Pancho García contributes a comic note with his
characterizations, assuming several roles to regale us with a fine example of
dedication to his trade. Fidel Betancourt has his best moments in the scenes of
courtship; then, when he breaks with his friend and protector, he lacks the same
interpretive level. Caleb Casas, on the other hand, is able to come closer to a
believable image of the underprivileged youth involved in the murder.
Life and Death of Pier Paolo Pasolini is, essentially, a drama of
passion; a story of an individual’s suffering, death and resurrection. Pasolini
was a transgressor, an authentic and sincere man who faced up to the conventions
and the most retrograde forces of all time. His was a battle for all time. The
selection and staging of this play is not only a landmark for the Argus Theater,
but also a challenge and an enviable measuring stick for our theater industry.
If there were many more plays with this level of quality, there is no doubt that
Havana would once again be the important theatrical center it was of old.
==================================================
La Gaceta magazine (not available on the Internet) is published by
the Union of Artists and Writers of Cuba, UNEAC.
LA GACETA DE CUBA
July-August 2004
PASOLINI IN THEATRICAL FORM
by Norge Espinosa
The first thing in evidence is a body on a piece of open ground in Ostia. On the
body, which was dumped in the first days of November, 1975, are hints: some
poetry books, prose, interviews and records of legal proceedings; a series of
polemic films for their dependable and conceptual audacity (the Church, Eros,
politics - some of his favorite targets); and the premonition of a crime
committed not only for sexual motivations. From that day until now, the PPP body
has not stopped accumulating new symptoms of that which led to his death;
confirmation of his perilous and problematic character. I mention just a few
that are well-known among us: a movie, part fiction, part documentary, on this
man's murder, projected next to a memorable retrospective at the International
Festival of New Cinema in 1998; a notebook of Alberto Acosta-Pérez; a poem by
Rolando Sánchez Mejías from his volume Derives I; and a theater piece by the
Frenchman, Michel Azma.
This last, in the hands of the Argus Theater, is an effective scenic tour de
force, a meticulous reproduction - almost twenty years after the discovery of
the PPP body – of the PPP person: the problematic Pier Paolo Pasolini.
One of the most celebrated authors in his country today, Azama takes this body
and unravels it in filmed sequences of the Italian poet and film director’s
desperate existence. As with Arenas, Reinaldo Arenas I mean, the experience of
Pasolini is that of a character in conflict with the most terrible forces: the
will of somebody that tries to carve out a space for himself even though it goes
against the grain.
Homosexual and militant communist, film director without excessive technical
baggage, but endowed with a visual poetry that radicalized the precepts in
vogue; atheistic, but not insensitive to the Catholic mystery; Pasolini, beyond
a human being, was a time bomb. He exploded within himself long before the plot
to eliminate him came about his last night under the gaze of Giuseppe Pelosi.
The play that Carlos Celdrán directs today in Havana opts for an almost
messianic Pasolini, a dramatic mirror of the author of Poetry in Form of a Rose
that appears in the most emphatic scenes in his life, like an apostle of his
particular credo where beauty is another form of sacrifice and truth a form of
beauty. The theatrical piece Life and Death of Pier Paolo Pasolini finds its
virtue and its limit within this perspective, at times hagiographic, at times
far more complex than it appears to be at first glace, refashioned, fortunately,
by the measured and intelligent work of its direction.
Moderation and intelligence have not been lacking in other previous works of
Carlos Celdrán. However, here I would like to add something that is absent in
Cuban theater today: an awareness of balance, of the necessary balance between
all the elements that surround the staging is something that, in itself, works
like a machine that produces symbols with exactitude. Celdrán has conceived this
setting with the actor as the alter ego of the person to which the text refers,
and injects into the performers a dose of confidence that those of us who
habitually attend the theater sometimes miss. A bare stage covered with sawdust
is enough - the image of the open ground at Ostia - to organize upon it the arid
metaphor of the life he will relate to us.
If, in his previous zeal with his reprise of Roberto Zucco, Alain Ortiz created
a scenic space that was so potent it devoured part of the set; now the same
designer has created for Celdrán a black resonating box, where the synthesis is
also a texture, a visual concept that frames the drama of the characters,
emphasized by the handling of the lighting by Manolo Garriga and the impeccable
wardrobe of Vladimir Cuenca. The play seemed to understand that its mission - to
expose the facts that led to the death of an intellectual who persisted in the
search for risk - is achieved from the minutest emphasis, from the projection of
an austerity where the actor's voice is the color, the nerve, the success.
An actor who is, fortunately, the many faces of an entire group where most of
the performers advance along the same chord in a unique tone that is not
monotonous, but a physical arrangement that doesn't scorn care for diction or a
clear line of expression. An actor who is, first and foremost, Alexis Díaz de
Villegas: a Pasolini who is possible, believable and memorable. He has already
demonstrated his excellent abilities in La Celestina, La Señorita Julia,
Segismundo ex-Marqués and El Trac. Pasolini is a filter that allows Alexis to
renew his skills. In the monologues - especially where his body draws against
the surface of a table – a game of opposites is played that alternates with his
dynamic speech. In the scenes where he presents the profile of a homosexual that
is not a stereotype, but a character who is alive, his talent is newly affirmed.
We must also thank Celdrán for providing us with the actor Pancho García,
because the manner in which this experienced performer is integrated into a cast
of younger actors catalyzes other sources of seduction that the play lucidly
illustrates. Pancho, in his four characters, is the same and he is not. Without
gratuitous abandonment, he multiplies and metamorphoses in what is pure
virtuosity, confirming him as one of those actors for whom it is always
worthwhile singing his praises. Then there is Jorge Luis Hidalgo, tense and
effective as a balance between these two previously mentioned actors. Thanks to
them, the other members of the cast (Caleb Casas, a far more beautiful Pelossi
than the one who actually murdered Pasolini; Fidel Betancourt, a Ninetto Dávoli
who will grow more as his he develops his role, and not only in his earned
innocence...) move together as a group in a setting of which I need relate few
details: a superfluous sofa, a bench in perfect harmony with the scenic elements
of the set; or the enunciation of some fragments that the actress Ileana
Rodríguez was not able to come to terms with in her difficult assignment as
Narrator.
I
would like, finally, to summon Havana to see this production that without excess
or stifling pretense, places the person and not the PPP body as an image before
us. I would also like to once again acknowledge my trust in Carlos Celdrán,
marred in those moments when his hand seemed less firm, but never a hypocrite
and sustained by a faith that ensures my return to see his productions. He that
from the birth of his theater group appears to seek a balance between a
impressive range and an actor's contribution, and has provided in this work much
of what he intended in previous presentations. Carlos Celdrán reaffirms my vote
for these other Carlos Celdrán pieces for which I have already applauded or
passionately critiqued, because his Pier Paolo Pasolini now allows a return to
other Pier Paolo Pasolinis which I have read, invoked, loved and still love
sincerely.
==================================================
Pasolini, a 30 años
ROLANDO PÉREZ BETANCOURT
rolando.pb@granma.cip.cu
Ver
en los años sesenta, o principios de los setenta, una película de Pier Paolo
Pasolini significaba una turbación intelectual de tan vastas proporciones que lo
obligaba a uno a crecer a toda costa.
Pasolini
en los años sesenta.
La marginalidad y el erotismo, ligados con la
violencia, fueron referencias clave de sus primeros filmes con sustentos
neorrealistas, Acattone (1961) y Mamma Roma (1962), vía expresiva
que le cedería el paso a formas más experimentales y críticas de analizar la
sociedad, no pocas veces trayendo al presente referencias provenientes del
pasado: El Evangelio según San Mateo (1964), Edipo rey (1967),
Teorema (1968), Medea (1969), El Decamerón (1971) y en
especial su última cinta, Saló o los 120 días de Sodoma, ejemplar
combinación de una novela del marqués de Sade, El Infierno, de Dante, y
un retrato de la llamada República de Saló, establecida por los fascistas en
1943.
Antes del cine, Pasolini había conmovido el mundo
literario italiano con sus novelas Ragazzi di vita (1955) y Una vita
violenta (1959), retratos escabrosos de la marginalidad italiana a partir de
las desigualdades sociales que desde siempre denunció en artículos y ensayos,
que lo revelaron como una de las mentes más lúcidas y comprometidas de su tiempo.
Porque Pasolini arremetía no solo contra la derecha, sino también contra
aquellos que desde postulados "de progreso" nada hacían, lo que le hizo asegurar
en un escrito aparecido en Corriere della sera que "la esperanza es un
concepto horrendo inventado por los partidos políticos para mantener a raya a
sus miembros".
Ya a los veinte años de edad, Pasolini había sido
detenido por la Gestapo en su natal Bolonia por pertenecer al Partido Comunista.
En 1943 se escapó de un campo de prisioneros y tras la guerra apareció en Roma
escribiendo poemas y ensayos en los que se apreciaba la influencia del marxista
Antonio Gramsci.
Fue, desde siempre, eso que algunos denominan "un
intelectual incómodo", lo que unido a su declarada homosexualidad lo convirtió
en blanco perfecto de una derecha recalcitrante que no le perdonó ni sus
películas ni sus penetrantes razonamientos públicos en contra del poder
establecido.
Hace ahora treinta años, el 2 de noviembre de 1975,
Pier Paolo Pasolini fue asesinado. "Crimen pasional", reiteró una masiva y mal
intencionada propaganda, tratando de reducir el asunto a una "disputa espuria"
entre el artista y el joven de 17 años, Pino Pelosi, dedicado a vender favores
sexuales. No faltaron entonces voces que denunciaron la existencia de una trama
más compleja, entre ella la de la periodista Oriana Fallaci, que sustentó la
convicción de "conspiración política".
Existían sospechas y hasta fuertes evidencias de que
Pelosi no era el asesino, o al menos había estado acompañado en la acción, pero
el joven reiteró ante los tribunales su absoluta responsabilidad (de reconocer
la participación de otras personas hubiera podido ser sentenciado a 30 años y no
los nueve que le correspondieron).
Tres décadas de conjeturas y misterios, hasta que en
mayo de este año, en un programa de televisión, Pelosi, todo un señor maduro,
dice ante las cámaras de televisión de su país que Pier Paolo Pasolini, en un
momento en que él había salido del auto donde ambos se encontraran, había sido
asesinado por tres personas. "Y mientras lo golpeaban despiadadamente le
gritaban "apestoso, puto y sucio comunista". ¿Por qué no lo dijo ante los
tribunales?, le preguntaron. "Porque amenazaron con matarme a mí y a mis padres
si hablaba". Según Pelosi, su revelación se debía a que sus padres ya estaban
muertos y posiblemente también los asesinos.
El caso ha sido reabierto a petición de la familia
de Pasolini y quizá se preste atención esta vez a lo que siempre sustentó Sergio
Cinti, director y amigo de la víctima, que dedicó buena parte de su vida a
reconstruir los hechos minuto a minuto: "Los jueces hicieron un proceso
deshonesto... los agresores fueron cinco y Pelosi les sirvió de cebo porque se
requería de alguien a quien colgarle el delito; él tuvo que aceptar el juego de
esta gente, `gente respetable' que cansada de Pasolini había ordenado el
homicidio para callarle la boca".
======================================
2 de mayo del 2004
La pasión de
Pasolini
Osvaldo Cano
Carlos Celdrán no se entretiene con las ramas, por el contrario
va al tuétano, a la médula de los problemas. A quien quiera comprobarlo lo
invito a asistir a la sala del 9no. piso del Teatro Nacional. Allí, el líder de
Argos Teatro nos enfrenta a una obra cruda, intensa y brillantemente escrita.
Vida y muerte de Pier Paolo Pasolini, tanto el texto como el espectáculo, se
cuenta entre lo mejor que haya subido a nuestras tablas en mucho tiempo.
La pieza relata la historia del afamado director cinematográfico,
novelista y poeta Pier Paolo Pasolini. Con ella Celdrán descubre, para el
espectador cubano, a un autor de la talla de Michel Azama, un dramaturgo que —al
igual que Koltés— se complace en hacer caer las máscaras y mostrar la verdad tal
cual. Pasolini, un brillante intelectual cuyos aportes a la espiritualidad
humana son notables y enjundiosos, y que, no obstante, fue víctima de la
incomprensión y la intolerancia. Esa es la clave de la pieza. Azama, con Vida
y muerte... se detiene a recordarnos cuántos atropellos se cometen en nombre
de la justicia, la moral y el orden.
La pesquisa, el asesinato, los procesos judiciales, las
intimidades de Pasolini, sus éxitos y decepciones, vertebran la obra. El
carácter biográfico de la pieza, lejos de resentirla, la dotan de un aire de
autenticidad que preocupa y conmueve. Ante nuestros ojos vemos cómo la tozudez y
la ceguera destruyen una vida útil; cómo los prejuicios morales pueden marginar
y hasta sepultar a un hombre lúcido y batallador. Vida y muerte de Pier Paolo
Pasolini deviene en algo así como una alerta, una vibrante manera de
advertirnos, a través de la ficción, cuán demoledora y torcida puede ser la
realidad.
La puesta es de una limpieza aleccionadora. El director centra su
atención en el trabajo con los actores y prescinde de todo aquello que pueda
obstaculizar la comunicación. El piso alfombrado de aserrín propone una imagen
árida que alude a la actitud represiva y el violento comportamiento de los
contrincantes del cineasta. El ritmo es trepidante en ocasiones, cadencioso en
otras. La mesura, la contención, la asepsia y el sentido de la exactitud, signan
el montaje.
La escenografía hay que buscarla a ras de piso. El aforo en negro
de la sala le imprime un tono de dureza, un aire severo, luctuoso, al montaje.
Sobre la agreste alfombra de virutas de madera sobresalen varias plataformas, un
banco, un diván y algún que otro elemento. Esto basta a Alaín Ortiz para, a
través de las formas geométricas, la textura y el color, transmitir la imagen de
un mundo carcomido y decadente. El vestuario es austero y simbólico. Pasolini
viste colores claros, el resto va de gris o de negro. La época, los conflictos,
los bandos o el hipócrita maniqueísmo de los representantes de un orden amañado,
son mostrados por Vladimir Cuenca, gracias a un diseño que engarza a la
perfección con la concepción global de la puesta en escena.
Las luces, de Manolo Garriga, ponen de relieve cada detalle,
ambientan, subrayan. Mientras que la banda sonora, conformada por el propio
Cedrán, con fragmentos de Mozart, Bach y Miles David, crea el clima apropiado,
sugiere, inquieta.
En el rubro de las actuaciones sobresale la depurada labor de
Alexis Díaz de Villegas. El intérprete consigue, a golpe de sinceridad y
contención, proyectar la imagen verídica y auténtica del tenaz Pasolini. José
Luis Hidalgo se desdobla con profesionalismo y limpieza en varios personajes.
Pancho García aporta la nota cómica, realiza caracterizaciones, asume varios
roles y termina por regalarnos un buen ejemplo de dedicación y oficio. Fidel
Betancourt tiene sus mejores momentos en las escenas del cortejo; luego, cuando
rompe con su amigo y protector, no alcanza a sostener el mismo nivel
interpretativo. Caleb Casas, por su parte, logra acercarnos una creíble imagen
del lumpen juvenil involucrado en el asesinato.
Vida y
muerte de Pier Paolo Pasolini
es, en buena medida, un drama de la pasión; o sea, la historia del sufrimiento,
muerte y resurrección de un individuo. Pasolini fue un trasgresor, un hombre
auténtico y sincero que se enfrentó a las convenciones y las fuerzas más
retrógradas de su época. La suya es una batalla de todos los tiempos. La
selección y el montaje de esta pieza resulta no solo un hito en la trayectoria
de Argos Teatro, sino también un reto y un rasero envidiable para nuestra escena.
Si abundaran los espectáculos con este nivel de calidad, no hay duda de que La
Habana volvería a ser la importantísima plaza teatral de otros tiempos.
http://www.jrebelde.cu/2004/abril-junio/may-2/index.html
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GRANMA
30 de septiembre 2004
X Festival Nacional de Teatro de Camagüey
Pasolini, los actores y el teatro infantil los más
premiados
Andrés D.
Abreu
Vida
y muerte de Pier Paolo Pasolini, de Argos Teatro, y La caja de los
juguetes, de Teatro de las Estaciones, compartieron el Gran Premio del X
Festival Nacional de Teatro de Camagüey durante una ceremonia donde la obra
sobre el célebre cineasta italiano recibió, además, los premios a la mejor
música original o banda sonora (Carlos Celdrán) y a la mejor actuación masculina
en teatro para adultos, otorgado a Alexis Díaz, por su protagónico como Pasolini,
y a Pacho García por sus cuatro personajes en esta misma obra, así como por su
papel en la pieza En el túnel un pájaro (Compañía Hubert de Blanck).
http://www.granma.cubaweb.cu/2004/09/30/cultura/articulo02.html
TEATRO
NACIONAL
(Paseo y 39, Plaza de la Revolución. Telf. 870 4145). SALA COVARRUBIAS,
sábado 15 y domingo 16, 5:00 pm, Medea, por Teatro Matacandelas (Colombia). 9no
Piso, viernes, sábado, y domingo; 8:30 pm, Vida y muerte de Pier Paolo Pasolini,
del dramaturgo francés Michel Azama, por el grupo Argos Teatro, que dirige
Carlos Celdrán. La obra se mantendrá todo el mes.
http://www.jrebelde.cu/2004/abril-junio/may-14/print/panorama.htm
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