Book Sectionhttps://doi.org/10.37050/ci-06_05
What is the role or the function of the actor in Pasolini’s cinema? I shall try to put this very general and generic question in another way: how can we define, overall, the particular physiognomy of a Pasolini actor? There are undoubtedly some particular characteristics, but what are they exactly?
Keywords: Pasolini, Pier Paolo; Motion pictures; classical antiquity; Greek myths; Totò; Callas, Maria; Acting; Aeschylus – Oresteia
Rights: © by the author(s). This version is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Part of The Scandal of Self-Contradiction Containing:
Frontmatter / Luca Di Blasi, Manuele Gragnolati, Christoph F. E. Holzhey
Introduction / Luca Di Blasi, Manuele Gragnolati, Christoph F. E. Holzhey
‘La vera Diversità’: Multistability, Circularity, and Abjection in Pasolini’s Pilade / Christoph F. E. Holzhey
Pasolini as Jew: Between Israel and Europe / Robert S. C. Gordon
Pier Paolo Pasolini and Pan-Meridional Italianness / Giovanna Trento
The Body of the Actor: Notes on the Relationship between the Body and Acting in Pasolini’s Cinema
The Guest: Transfiguring Indifference in Teorema / Claudia Peppel
Analogy and Difference: Multistable Figures in Pier Paolo Pasolini’s Appunti per un’Orestiade Africana / Manuele Gragnolati
Pasolini and India: De- and Re-Construction of a Myth / Silvia Mazzini
Outside Italy: Pasolini’s Transnational Visions of the Sacred and Tradition / Francesca Cadel
Reconciliation and Stark Incompatibility: Pasolini’s ‘Africa’ and Greek Tragedy / Bernhard Gross
One Divided by Another: Split and Conversion in Pasolini’s San Paolo / Luca Di Blasi
Alain Badiou’s Pasolini: The Problem of Subtractive Universalism / Bruno Besana
Figura lacrima / Hervé Joubert-Laurencin
Cinematographic Aesthetics as Subversion of Moral Reason in Pasolini’s Medea / Astrid Deuber-Mankowsky
Destruction, Negation, Subtraction / Alain Badiou
Bandung Man / L’uomo di Bandung / Pier Paolo Pasolini
mythisnow — pasoliniandeuropetoday / Joulia Strauss
Backmatter / Luca Di Blasi, Manuele Gragnolati, Christoph F. E. Holzhey
Title
The Body of the Actor
Subtitle
Notes on the Relationship between the Body and Acting in Pasolini’s Cinema
Author(s)
Agnese Grieco
Identifier
https://doi.org/10.37050/ci-06_05
Description
What is the role or the function of the actor in Pasolini’s cinema? I shall try to put this very general and generic question in another way: how can we define, overall, the particular physiognomy of a Pasolini actor? There are undoubtedly some particular characteristics, but what are they exactly?
Is Part Of
The Scandal of Self-Contradiction
Place
Vienna
Publisher
Turia + Kant
Date
2012
Subject
Pasolini, Pier Paolo
Motion pictures
classical antiquity
Greek myths
Totò
Callas, Maria
Acting
Aeschylus – Oresteia
Rights
© by the author(s)
This version is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
http://creativecommons.org/licenses/by-sa/4.0/
Bibliographic Citation
Agnese Grieco, ‘The Body of the Actor: Notes on the Relationship between the Body and Acting in Pasolini’s Cinema’, in The Scandal of Self-Contradiction: Pasolini’s Multistable Subjectivities, Geographies, Traditions, ed. by Luca Di Blasi, Manuele Gragnolati, and Christoph F. E. Holzhey, Cultural Inquiry, 6 (Vienna: Turia + Kant, 2012), pp. 85–103 <https://doi.org/10.37050/ci-06_05>
Language
en-GB
page start
85
page end
103
Source
The Scandal of Self-Contradiction: Pasolini’s Multistable Subjectivities, Geographies, Traditions, ed. by Luca Di Blasi, Manuele Gragnolati, and Christoph F. E. Holzhey, Cultural Inquiry, 6 (Vienna: Turia + Kant, 2012), pp. 85–103
Format
application/pdf

References

  • Deleuze, Gilles, Cinema 2: L’image-temps (Paris: Minuit, 1985)
  • Pasolini, Pier Paolo, Alì dagli occhi azzurri (Milan: Garzanti, 1965)
  • Pasolini, Pier Paolo, Saggi sulla letteratura e sull’arte, ed. by Walter Siti and Silvia De Laude, 2 vols (Milan: Mondadori, 1999)
  • Pasolini, Pier Paolo, Heretical Empiricism, trans. by Ben Lawton and Louise K. Barnett (Washington, DC: New Academia Publishing, 2005)
  • Siciliano, Enzo, Pasolini: A Biography, trans. by John Shepley (New York: Random House, 1982)

Cite as: Agnese Grieco, ‘The Body of the Actor: Notes on the Relationship between the Body and Acting in Pasolini’s Cinema’, in The Scandal of Self-Contradiction: Pasolini’s Multistable Subjectivities, Geographies, Traditions, ed. by Luca Di Blasi, Manuele Gragnolati, and Christoph F. E. Holzhey, Cultural Inquiry, 6 (Vienna: Turia + Kant, 2012), pp. 85–103 <https://doi.org/10.37050/ci-06_05>