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Pier Paolo Pasolini Teorema Teorema Pier Paolo Pasolini Teorema Teorema Pier Paolo Pasolini 9 – 007 Teorema Teorema From Wikipedia, the free encyclopedia. De Wikipedia, la enciclopedia libre. Original english version. Traducción del inglés al español. Retrieved January 5 0. Consultado el 5 de enero de 0. Teorema, also known as Theorem (UK), is a 968 Teorema, también conocida como Theorem (UK), Italian allegorical film written and directed by Pier o Teorema – Geometrie der Liebe (Alemania) es una Paolo Pasolini and starring Terence Stamp, Laura pelí­cula alegórica italiana de 968, escrita y diri- Betti, Silvana Mangano, Massimo Girotti and gida por Pier Paolo Pasolini y protagonizada por Anne Wiazemsky. Pasolini‘s sixth film, it was the Terence Stamp, Laura Betti, Silvana Mangano, Mas- first time he worked primarily with professional simo Girotti y Anne Wiazemsky. En su sexta película actors. In this film, an upper-class Milanese family Pasolini trabajó preferiblemente con actores profesio- is introduced to, and then abandoned by, a divine nales. En esta pelí­cula, una familia milanesa de clase force. Themes include the timelessness of divinity alta está tocada y luego abandonada por una fuerza and the spiritual corruption of the bourgeoisie. divina. Los temas incluyen la intemporalidad de la divinidad y la corrupción espiritual de la burguesía. Contents Contenido Plot Trama Cast Reparto 3 Reception 3 Recepción 4 Structure and title etymology 4 Estructura etimologí­a del tí­tulo 5 Scholarly interpretations 5 Interpretaciones académicas 6 Other versions 6 Otras versiones 7 Home media 7 Medios privados 8 Awards 8 Premios 9 References 9 Referencias 9. Sources 9. Fuentes 0 External links 0 Enlaces externos Plot Trama A mysterious figure known only as “The Visitor” Una misteriosa figura conocida solo como “El visi- appears in the lives of a typical bourgeois Italian tante” aparece en la vida de una típica familia bur- family. His arrival is heralded at the gates of the guesa italiana. Un cartero anuncia su llegada, gesti- family‘s Milanese estate by an arm-flapping post- culando alegremente a la puerta de la mansión man. The enigmatic stranger soon engages in sex- milanesa de la familia. El enigmático forastero pronto ual affairs with all members of the household: the se involucra en asuntos sexuales con todos los miem- devoutly religious maid, the sensitive son, the sex- bros de la casa: la criada devotamente religiosa, el ually repressed mother, the timid daughter and, hijo sensible, la madre sexualmente reprimida, la hija finally, the tormented father. The stranger gives tímida y finalmente el padre atormentado. El foras- unstintingly of himself, asking nothing in return. tero se entrega sin reservas, sin pedir nada a cambio. He stops the passionate maid from committing Impide que la apasionada criada se suicide con una suicide with a gas hose and tenderly consoles her; manguera de gas y la consuela tiernamente; hace he befriends and sleeps with the frightened son, amistad y duerme con el hijo asustado, calmando sus soothing his doubts and anxiety and endowing dudas y ansiedades y dotándolo de confianza; se hace him with confidence; he becomes emotionally inti- íntimo emocionalmente con la hija sobreprotegida, mate with the overprotected daughter, removing quitándole su inocencia infantil sobre los hombres; her childish innocence about men; he seduces the seduce a la madre aburrida e insatisfecha, dándole bored and dissatisfied mother, giving her sexual alegrí­a y satisfacción sexual; cuida y consuela al joy and fulfillment; he cares for and comforts the padre abatido y sufriente, que ha caído enfermo. despondent, suffering father, who has fallen ill. Then one day the herald returns and announces Entonces un día el heraldo regresa y anuncia que el that the stranger will soon leave the household, forastero pronto dejará la casa, tan repentina y mis- just as suddenly and mysteriously as he came. teriosamente como llegó. En el subsiguiente vacío In the subsequent void of the stranger‘s absence, de la ausencia del forastero, cada miembro de la each family member is forced to confront what familia se ve obligado a enfrentarse a lo que antes was previously concealed by the trappings of se ocultaba por las trampas de la vida burguesa. La bourgeois life. The maid returns to the rural vil- criada regresa a la aldea rural donde nació y es vista lage where she was born and is seen to perform haciendo milagros; finalmente, se inmola tapándose miracles; ultimately, she immolates herself by con barro, mientras derrama lágrimas extáticas de having her body buried in dirt while shedding regeneración. La madre busca encuentros sexua- ecstatic tears of regeneration. The mother seeks les con hombres jóvenes; el hijo deja el hogar fami- sexual encounters with young men; the son leaves liar para convertirse en artista; la hija se hunde en the family home to become an artist; the daughter un estado catatónico; y el padre se despoja de todos sinks into a catatonic state; and the father strips los propietades materiales, entregando su fábrica a himself of all material effects, handing his factory sus trabajadores, se quita la ropa en una estación de over to its workers, removing his clothes at a rail- ferrocarril y deambula desnudo por el desierto (en way station and wandering naked into the wilder- realidad, las laderas desérticas volcánicas del monte ness (actually the volcanic desert slopes of Mount Etna), donde finalmente grita con rabia y desespera- Etna), where he finally screams in primal rage and ción primitiva. despair. Cast Reparto Terence Stamp as The Visitor Terence Stamp El visitante Laura Betti as Emilia (the maid) Laura Betti Emilia (la criada) Silvana Mangano as Lucia (the mother) Silvana Mangano Lucia (la madre) Massimo Girotti as Paolo (the father) Massimo Girotti Paolo (el padre) Anne Wiazemsky as Odetta (the daughter) Anne Wiazemsky Odetta (la hija) Andrés José Cruz Soublette as Pietro (the son) Andrés José Cruz Soublette Pietro (el hijo) Ninetto Davoli as Angelino (the postman) Ninetto Davoli Angelino (el cartero) 3 Reception Recepción On its release, the religious right and the Vatican Al estrenarse, la derecha religiosa y el Vaticano criti- criticized the sexual content in the film. Others caron el contenido sexual de la pelí­cula. Otros con- considered the film “ambiguous” and “vision- sideraron la película “ambigua” y “visionaria”. La ary”. The film won a special award at the Venice pelí­cula ganó un premio especial en el Festival de Film Festival from the International Catholic Film Cine de Venecia de la Oficina Internacional Cató- Office, only for the award to be withdrawn later lica de Cine, pero el premio fuera retirado más tarde when the Vatican protested. cuando el Vaticano protestó. Scholars view the film differently due to the Científicos ven la película de manera diferente, openness or ambiguity of the film. The author debido a la franqueza o ambigüedad de la misma. El of A Certain Realism: Making Use of Pasolini’s autor de “A Certain Realism: Making Use of Pasolini‘s Film Theory and Practice, Maurizio Viano, says Film Theory and Practice”, Maurizio Viano, dice que that in order to understand the film there must para entender la película se debe haber una “traduc- be “adequate translation”. Most scholars writing ción adecuada”. La mayoría de los profesionales que about the film do not discuss Pasolini‘s cinemato- escriben sobre la película no discuten las técnicas graphic techniques but Pasolini‘s philosophical cinematográficas de Pasolini sino sus argumentos arguments. Viano argues that Pasolini intended filosóficos. Viano sostiene que Pasolini pretendía ser to be theoretical in this film because he wanted to teórico en esta película porque quería ser reconocido be recognized as “a film theorist”. como “un teórico del cine”. Structure and title etymology Estructura y etimología del título Teorema means theorem in Italian. Its Greek root Teorema significa teorema o lema en italiano. Su raíz is theorema (θεώρημα), meaning simultaneously griega es theorema (θεώρημα), que significa simul- “spectacle”, “intuition”, and “theorem”. Viano táneamente “espectáculo”, “intuición” y “teorema”. suggests that the film should be considered as Viano sugiere que la película debe ser considerada “spectatorship” because each family member como “espectador” porque cada miembro de la fami- gazes at the guest and his loins[citation needed], lia mira al invitado y su cadera, aunque esto parece although this seems unlikely: the Greek word poco probable: la palabra griega no denota el acto real denotes the object of spectatorship, rather than de la espectadura, que sería la teoresis (θεώρησις), the actual act of spectatorship, which would be sino el objeto de la misma. theoresis (θεώρησις). As a term, theorem is also often considered as A menudo se considera la palabra teorema también mathematical or formulaic. In this sense, the film como matemática o como fórmula. En este sentido, also contains a programmatic structure. It begins la película también contiene una estructura progra- with documentary-like images and then moves mática. Comienza con imágenes de tipo documen- on to the opening credit with a dark volcanic tal y luego sigue al créditos con un oscuro desierto desert, a home party scene, cuts of the factory in volcánico, una escena de fiesta en la casa, cortes de la sepia tone, introduction of each family member in fábrica en tono sepia, introducción de cada miembro 4 silence and sepia tone, and, then, the guest sitting de la familia en silencio y en tono sepia, y después in the back yard in colour. The middle section is el visitante sentado en el patio trasero en color. La divided into three: “seductions”, “confessions” sección del medio está dividida en tres partes: “seduc- and “transformations”.[] ciones”, “confesiones” y “transformaciones”.[] Not only is the film‘s structure formulaic but so is No solo la estructura de la pelí­cula es formalista, the psychological development of each character.
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