Abstract
A supposed adulteress, a jealous husband and a vengeance. What would happen if we transferred Othello’s tragedy to a puppet show? On the stage of a miserable theater, Pasolini displays in C he cosa sono le nuvole (1967) the story of some living puppets that are drawn to represent Shakespeare’s Othello on demand of an omn ipotent puppeteer. The audience’s answer will be unexpected. On the other hand, in Los cuernos de don Friolera (1930) Valle- Inclan masks his own Othello as a grotesque guardia civil trapped in the middle of rural, moral and despotic Spain; the story of whom is, again, seen by an audience, in this case, two intellectuals that reflect on art, posterity and triumph. Tragedy, disguised by laughter and fiction, exceeds the frontiers of tradit ional theatre to make us accomplices and, as Shakespeare would say, players. A game of Russian dolls that reminds us of the Foucaultian Meninas experience: us, the voyeurs, are effectively inside the scene, we finish the work of art. The funambulesque muse has played her game, and the theatrical stage has become a mirror.
Highlights
A supposed adulteress, a jealous husband and a vengeance
Intellectuals that reflect on art, posterity and triumph
A game of Russian dolls that reminds us of the Foucaultian Meninas experience: us, the voyeurs, are effectively inside the scene, we fin ish the work of art
Summary
¿Acaso esta musa grotesca –Ya no digo funambulesca–, Que con sus gritos espasmódicos Irrita a los viejos retóricos,. Nutridos por una nueva forma de entender (y sobre todo de mirar) la realidad, impregnada tanto por la afilada mirada de bisturí del neorrealismo a flor de piel como por la irreverencia funambulesca de la risa que duele, surgen los (no tan) dispares maestros europeos de los años cincuenta, siempre cerca de la realidad, de la tierra, de lo popular. Nos proponemos el análisis en paralelo de dos obras en las que sus autores, Valle-Inclán y Pasolini, dialogan contracanónicamente con el rey del canon, William Shakespeare. Si bien Pasolini se atrevió con los textos más influyentes de la Humanidad, desde la mismísima Biblia hasta el Decameron, pasando por las Mil y una Noches o las tragedias de Edipo Rey y Medea; la elección de Shakespeare resulta especialmente acertada en el contexto de esta obra incluida en la llamada trilogía de la ligereza (Uccellacci e Uccellini (1966), La terra vista dalla luna (1967) y nuestra Che cosa sono le nuvole).
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