Pier Paolo Pasolini’s dramaturgy unfolds at the intersection of poetry, anthropology, and radical politics. Unlike traditional dramatic structures, Pasolini’s theatrical writing resists narrative linearity and psychological realism. Instead, it foregrounds the body as a site of conflict, desire, and revelation. His characters often speak in heightened, ritualistic language, invoking a sacred dimension that coexists with social critique.
For Pasolini, theatre is not merely a medium it is a battleground. His dramaturgy exposes the contradictions of modernity, the violence embedded in social norms, and the disappearance of subaltern cultures under the pressure of consumerism. In works such as Affabulazione and Pilade, the stage becomes a space where myth and contemporary politics collide, revealing deeper truths about power, identity, and resistance. At the core of Pasolini’s dramaturgical approach lies a profound tension between the sacred and the profane. His use of myth is not decorative but confrontational: it destabilizes the audience, forces them to witness the fragility of the human condition, and questions the ideological structures that shape society. Pasolini’s theatre is therefore an act of intellectual and ethical insurgency one that continues to influence contemporary dramaturgy and political theatre
Informazioni sull'autore
