The project consists in two parallel and different productions linked to two cities, Bologna and Rome, deeply connected to Pasolini’s life. Here a concert preview of the theatre pièce that will premiere in Rome at Teatro Argentina next October. On scene, Chorus Arcanto of Bologna and Giovanna Marini, artistically connected since 2004 thanks to AngelicA, the International Music Festival that for 25 years has been committing, producing and rediscovering musical projectes.
Pier Paolo Pasolini faces himself. In the fourth part of his beautiful Italian poem “Le ceneri di Gramsci” (The ashes of Gramsci) he says: “The scoundrel of contradicting myself, of being / with you and against you”.
The actor reads “I giovani infelici” (The unhappy youngsters), a posthumous work, written in the first days of 1975 and taken from the “Lettere Luterane” (Lutheran letters). The choir listens, sings and comments, with Pasolini’s words. Not those of the Italian language, the one he uses for his essays, but rather those of the Friuli dialect, his mother’s language he studied and was so willing to learn, so he could talk to his fellow citizens and students.
On the stage there is a strange confrontation, Italian and Friuli dialect, Pasolini as the essays writer and critic, and as the poet, who sang with so much love and poetry his childhood in Friuli. Poems are taken from “La Nuova Gioventù” (The new youth), which was first edited in 1975 and was the last book published by Pasolini as a token of his loyalty to poetry, particularly the one written and spoken in dialect which characterized his beginnings. Such works collects two cycles of the Friuli poems, “La meglio gioventù” (1941-53) and “La nuova forma de «La meglio gioventù»” (1974), he re-wrote after 20-30 years from the first.
The actor, interpreting Pasolini the writer and critic, reads “I giovani infelici” and the choir, interpreting the Friulan poet, continuously interrupts the reading until a debate sets in: Pasolini the critic and analyst, the extraordinary movie director against Pasolini the poet who recalls, regrets, evokes and sings “Viva el coragiu, el dolòur / e la nothentha dei puarèth!” (Hail the courage, the sorrow / and the innocence of the poors!). The dabate will not only be verbal, based on the Pasolinian works, but scenic as well. Choir and actor, onto different planes and as different modules will often come in contact, confronting until they touch a profound spiritual and ideological synergy.

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