CALDERON ; SVINJAC

The year of 1965 is the key year in Pasolini's theatrical adventure. According to his own statement he wrote 6 tragedies, while sick reading Platon who inspired him for dramatic expression in rhymes through characters. In that offer accompanied by his « ; Theory of Acting» ; (« ; Manifesto del teatro di Parole» ; , more recognized by title « ; Per un teatro nuovo» ; ), a very interesting place is taken by « ; Calderon» ; , explicit and by a lot of formal elements a picturesque reception and repetition of « ; Life is a dream» ; of Calderon della Barca. The main character Rosaura dreams three dreams ; the escape from reality opens up a space of repressed wishes, and incest is offered with counterpoints of socially political commentary whose rarity and worthiness stand as almost unique in artistic stimulation in the sphere of theatrical creation. We will try to follow the logic of that interference of intellectual, social and revolutionary, subconscious, incestuous gradation and valorization of incest in relations: Rosaura-father, Rosaura-son. Pessimistic absoluteness of both plans will be observed by offering interpretation that perhaps right in the sphere of theater Pasolini's world class creation took place as the sum of intellectual, revitalizing the worthiness and the possibility of existence in the community. In his « ; tragedies» ; death and intellectual aggresiveness are implicit, as he expressed himself as « ; grazie alla morte la nostra vita ci serve per esprimersi» ; . We can connect this statement with a projected artistic plan of Pasolini's choice of death as presented by Giuseppe Zigaina. For life, which is death, only a dream is an acceptable biography. A question will be asked as how in that context a Divine Comedy would be created?