SAD SAM PPP takes Pier Paolo Pasolini’s dead body as the starting point of its choreographic and dramaturgical process. The final twenty-four hours of his life establish a temporal framework from which fragments of poetry, film, political thought, language, and biography unfold. From the dead body, the performance moves backwards, towards traces of life and work. The body becomes a site of transmission between document and fiction, history and memory, the political and the intimate. Pasolini’s material passes from text into movement, from thought into image, from voice into space, constructing a choreography of return towards his earliest poetic writings and the Friulian language. SAD SAM PPP is also Ferlin’s encounter with Pasolini as an artistic interlocutor, whose movement across artistic disciplines, languages, and political positions resonates with affinities Ferlin recognizes within his own performance practice.
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