Pasolini's uncomfortable theatre

The bilingual edition of the volume Tragedies I The collection of works by the immense Pier Paolo Pasolini, published by Prometeu—with the sponsorship of the Institut del Teatre and the Barcelona Provincial Council—constitutes a significant editorial contribution to the field of contemporary Catalan-language drama. Calderón, Fabulation and PillsThis powerful book allows us to explore a creative arc that ranges from the modern pastiche of Golden Age tragedy to the dissection of bourgeois family and society, and the necessary return to Greek myths as the matrix of ideologies in perpetual conflict. This energy undoubtedly resonates with the desperate vitality that marked the life of the Italian genius. In addition to restoring a body of work often relegated by the author's centrality in film and literature, this publication focuses on Pasolini as a political playwright, always attentive to the material and symbolic metamorphoses of Power in its purest form.

Marina Laboreo's translation stands out for its ability to modulate different registers without losing the underlying thought that runs through each piece and that engages in dialogue with other key works such as the great essayHeretical empiricism', which Laboreo herself translated for Lleonard Muntaner Editor. In Calderón It skillfully blends a baroque and ceremonial atmosphere with a clear syntax that avoids inert archaism and fosters a vibrant theatricality. FabulationLanguage becomes the knife that dissects domestic orders, and the translator maintains the friction between rational discourse and obscene impulse, essential for understanding Pasolini's operation. Pills A double challenge is at stake: the weight of the myth and its political rearticulation. The choice of a clean, yet taut, Catalan, devoid of flowery concessions or expressive coldness, helps to establish a balance that seems perfectly suited to the performance. The fact that it is a bilingual volume is more than just a philological detail: it invites a dual reading that allows one to appreciate both the creative solutions of the excellent translation and the original texture of Pasolini's language, rich in abruptness, provocations, and images that transcend conventional realism. It is also a gesture consistent with Prometeo's catalogue, which champions texts that engage with the present without domesticating or simplifying them. From a theatrical perspective, the work contributes to an ongoing debate: how to make the political tragedies of the 20th century legible today.

As David Carnevali explains in his insightful prologue, Pasolini offers unsettling answers, far removed from psychologism and naturalism, that rethink History as a continuum of ideas, classes, and bodies. Recovering this textual artifact in Catalan is an act of resistance. In conclusion, Tragedies I It is essential: for the quality of the translations, for the rigor of the editing, and for how it revives a Pasolini who demands to be represented.