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
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
DOI Target
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
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.
Harvested
yes
Language
en-GB
short title
The Body of the Actor
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
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>
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)
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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>