PASOLINI "POETA PROFETICO"
Franco Terlizzi, stimato professore di lettere nei licei, ha declamato Pasolini's poems brilliantly prophetic on the evening of Jan. 3 in Terlizzi (BA), delighting the audience. But his voice was not enough to enliven the evening. It also served a special public fact of young people and adults who can give in to the sacredness of silence and applaud his heart a recital demanding return the art to itself through the end of Franco Terlizzi narrator, the piano and authentic antidive Nando Garofalo, romantic and melodic voice of Amedeo Celentano.
You know, Pasolini was a poet, a director, a novelist, a journalist too complex for us, too often, we pretend not to understand what sounds more awkward, more provocative, più scandaloso. Per questo Franco Terlizzi ha scelto non solo di declamare versi del candido poeta novecentesco ma anche di interpretarli, mettendone in risalto il potere attualizzante.
La prima poesia declamata è stata “Il PCI ai giovani”. Siamo in pieno ’68. Pasolini lancia una forte provocazione nei confronti degli studenti che continuavano ad alimentare la falsa rivoluzione. Agli occhi del poeta friulano, gli studenti sono anticomunisti, nonostante il loro impeccabile linguaggio marxista. Sono figli di papà che hanno abbracciato in toto l’ideologia borghese nell’ aspirazione al potere e nel secco rifiuto di ogni reale rapporto con le classi subalterne. Questa certezza porterà Pasolini a scrivere il seguente vent lyric: "When you have done yesterday in Valle Giulia barrel / with the police, / I sympathize with the cops! / Because the cops are the children of the poor. / They come from suburban, rural or urban areas alike. / I [...] boys cops / you for sacred hooliganism (tradition of elected / Risorgimento) / children of Dad, you've beaten, / belong to another social class. / A Valle Giulia, yesterday, so had a fragment / Class Struggle : and you, my friends (although the side / of reason) were the rich, / while the police (who were on the side / in the wrong) were the poor. "
read the lyrics of Pasolini also means to deal with symbolism. Franco Terlizzi has given us more than an example of lyrics to read in that key metaphors and symbols, starting from the poem dedicated to the beautiful and fragile actress who "disappeared like a dove of gold." The end declaimer so sweet and plays the angry poem dedicated to the great Marilyn Monroe: "Marilyn is a metaphor for the beauty of the beauty of the world. Marilyn had all the beauty in a spontaneous, genuine, exquisite as the daughter of the people in the same manner in which they possess the beauty of the color and the gypsy beggars. They are their own, the Roma, the ones that we judge stinking beggars and excess. Then Marilyn has lost its beauty in consumer commodification of Hollywood as the world who lost the beauty materially and morally in the commodification of consumerism. But, while Marilyn was subtracted with the commodification of ghastly death crystallizes in the beauty myth, the world, however, falls ever deeper into his destiny of death. "
Pier Paolo Pasolini was born as a poet in Casarsa. If Bologna deliver its first cry for men, will be Casarsa, in Friuli, Pasolini will give his first cry of a poet. Franco Terlizzi could not help but point out that the process of poetic genius of this century. A Casarsa Pasolini, and more specifically in the Friulian language, learns the language of his poetry, feeling in this place the timeless arcadian entrusted to the presence of the sacred time of the "pre-history." The time, Casarsa, beat in a circular opposing linear time, evolutionary, and Hegel. Profoundly different times that will power the anguish of the poet, suggesting that this hiatus to heal.
Casarsa years lived in the poet recalls the wonderful years of primary and, especially, feels growing love for his mother-worship. In this regard the recital highlighted the most exciting steps of the "Supplication to my mother" and, through a brief screening, all were able to see that the role of the Virgin Mary, in the excellent film "The Gospel according Matthew, "is entrusted to the mother of Pasolini. A choice originated, certainly not from a shortage of actresses but an intimate relationship that the director Pasolini captures. Even Susan, the mother of Pier Paolo, childish and poetically associated with "un'allodoletta happy," she remained a virgin because it did not make the trip "in the viscous and corrupting world of adults who destroys for ever the grace and innocence of childhood ".
Rome Pasolini will suffer from homesickness the first of its bucolic country Friuli, on the other hand, "the discovery of the Roman suburbs sociological poetics determine growth and the transition from a poem by nature private and intimate in a poem civil, political, historical and social. " In the Roman suburbs, rural setting in which the boys act of life, Pasolini is fascinated by that world of the underclass so much with "candid and spontaneous vitality." Finally, he can compensate for the nostalgia of the world made of primordial 'grace and innocence. "
Franco Terlizzi made at this time of the recital, a necessary clarification and intelligent: the poor are mentioned by Pasolini "ptocoi" mentioned in the Gospel, namely the Synoptics ("blessed are the poor"). I "ptocoi" - said Frank Terlizzi – sono gli accattoni, le prostitute, i rom, gli ebrei, i papponi, i negri”.
La disperazione del poeta raggiungerà il suo acme quando egli si accorgerà che i ptocoi si erano volgarmente imborghesiti, rigettando la cultura contadina. Il popolo, corrompendosi, diventa eguale al borghese: entrambi sotto l’egira del denaro; “del denaro da spendersi nel superfluo”. È proprio questo “genocidio della cultura contadina” a portare il grande Pasolini in Africa. Qui può facilmente incontrare i suoi “ptocoi”, rapportarsi con essi e subire il fascino della loro purezza ed innocenza. Mentre la poesia resterà sempre la sua forma preferita di scrittura poiché essa "Is the only consumable product because it is justice that shines only to the soul." The poet - say Pasolini - "is always a challenge living. It is always more to that idea that every person in every society has of itself. "
Terlizzi Franco chose to conclude the recital with the greatest prophecy of Pasolini: the emblematic figure of Ali by blue eyes. "In the rubble of history will rise a new pre-history, but the price will be terrible for everyone because all the beggars, the beggars of the world, all ptocoi the world, no longer men, but men-fish, they will pass all the seas and the tanto vituperato Marx vedrà confermata almeno una delle sue cento teorie: un pugno di espropriatori opulenti e stanchi spazzati via da una marea di espropriati ed affamati”. Ecco il nobile commento, carico di finezza letteraria che Franco Terlizzi ha voluto presentare come corredo dei meravigliosi versi pasoliniani: “Essi sempre umili/Essi sempre deboli/essi sempre timidi/essi sempre infimi/essi sempre colpevoli/essi sempre sudditi/essi sempre piccoli,/essi che non vollero mai sapere,/essi che ebbero occhi solo per implorare,/essi che vissero come assassini sotto terra,/essi che vissero come banditi in fondo al mare,/essi che vissero come pazzi in mezzo al cielo,/essi che si costruirono leggi fuori dalla legge,/essi che si adapted to a world beneath the world / that they believed in a God servant of God, / [...] ... deposing the honesty of religions peasant / forgetting the honor of the underworld, / betraying the purity of the barbarian peoples, / Ali behind their blue-eyed / - will come out from under the earth to kill / - will leave the bottom of the sea to attack / - will fall from the sky to steal / - and before coming to Paris to teach the joy of living, / before coming to London to teach you to be free, / before coming to New York to teach and how 'brothers - will destroy Rome and its ruins / will lay the germ of Ancient History "[...].
Nella gallery abbiamo pensato di esprimere con alcune immagini (da noi scelte) i contenuti salienti della preziosissima serata.
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