Uno tra i molti epiloghi ^{2 0 2 2}

Matija Ferlin displayes himself here utilizing reduced gestures and increased dialogue, yet equally self-assuredly. Uno tra i molti epiloghi thoroughly examines the still unresolved assassination of the polarizing Italian author and filmmaker Pier Paolo Pasolini, an event occurring on November 1, 1975. Pino Pelosi, nicknamed La Rana (The Frog), was originally charged with this, yet subsequent inquiries exposed that intoxicated mafia operatives actually caused Pasolini's demise; these drugged attackers brutally butchered him and crushed him beneath two vehicles as an unprompted favor to a specific politician, even though he never explicitly ordered the assassination. Numerous bystanders witnessed the killing, yet everyone stayed quiet. Within this unique production, featuring dramaturgical arrangements by Goran Ferčec, Ferlin incorporated excerpts from Pasolini’s recorded interviews, followed by several poetic stanzas translated by Valter Milovan, alongside fragments of his incomplete novel, while additionally using audio textures from the 2016 motion picture La macchinazione, a movie where the iconic Pasolini was portrayed on screen by the talented actor Massimo Ranieri. As an illustration, the final monologue echoing in the theater, originates from that movie, much like Pasolini’s dialogue with his mother, a woman who seemingly harbored a dark foreboding of his death. Certain lines throughout the performance were delivered live by Ferlin, whereas others were broadcast directly from the authentic archival tapes. Throughout this narrative-performance, which even has some elements of lecture performance, situated in the Italian Community premises of Circolo, Ferlin periodically struck a wooden plank on the ground, signaling transitions across distinct sequences; this entire combination felt intimidating and gloomy, heavily permeated by a profound aura of inescapable tragedy. His fluidly blends Italian and Croatian within this storytelling, occasionally merging both into single phrases. Pasolini possessed complex, and arguably paradoxical aura, an identity to be comprehensively captured within one solitary stage production, or movie, yet it appears Ferlin and Ferčec intentionally broadcast a specific statement via this dramatic work, serving as a precautionary story regarding the disastrous destiny of committed intellectuals.