{"id":10624,"date":"2013-10-12T03:26:15","date_gmt":"2013-10-12T02:26:15","guid":{"rendered":"https:\/\/www.arte.tv\/sites\/olivierpere\/?p=10624"},"modified":"2013-10-02T13:27:31","modified_gmt":"2013-10-02T12:27:31","slug":"medee-de-pier-paolo-pasolini","status":"publish","type":"post","link":"https:\/\/www.arte.tv\/sites\/olivierpere\/2013\/10\/12\/medee-de-pier-paolo-pasolini\/","title":{"rendered":"M\u00e9d\u00e9e de Pier Paolo Pasolini"},"content":{"rendered":"

Mercredi d\u00e9bute la grande r\u00e9trospective consacr\u00e9e \u00e0 Pier Paolo Pasolini \u00e0 la Cin\u00e9math\u00e8que fran\u00e7aise (jusqu\u2019au 2 d\u00e9cembre), accompagn\u00e9e d\u2019une exposition sur la relation qu\u2019entretenait le cin\u00e9aste po\u00e8te avec la ville de Rome. A cette occasion, Carlotta ressort trois films de Pasolini\u00a0: Mamma Roma<\/i>, Sal\u00f2 ou les 120 journ\u00e9es de Sodome<\/i> et M\u00e9d\u00e9e<\/i>. Nous avons d\u00e9j\u00e0 \u00e9voqu\u00e9 les deux premiers titres dans ce blog, il est donc temps de parler du splendide M\u00e9d\u00e9e<\/i> (Medea<\/i>, 1969), qui est \u00e9galement disponible depuis le 2 octobre dans une superbe \u00e9dition Blu-ray chez M6 Vid\u00e9o.<\/p>\n

\"Maria<\/a>

Maria Callas dans M\u00e9d\u00e9e<\/p><\/div>\n

R\u00e9alis\u00e9 avant sa \u00ab\u00a0Trilogie de la Vie\u00a0\u00bb (Le D\u00e9cameron<\/i>, Les Contes de Canterbury<\/i>, Les Mille et Une Nuits<\/i>), trois adaptations litt\u00e9raires qui engageaient un dialogue optimiste et trivial avec le public populaire, M\u00e9d\u00e9e<\/i> cl\u00f4t un cycle de films explorant les origines du mythe et du sacr\u00e9, qui fascinaient Pasolini. Le cin\u00e9aste pr\u00e9sentait lui-m\u00eame son film comme \u00ab\u00a0l\u2019ext\u00e9nuation du th\u00e8me religieux\u00a0\u00bb, qui lui permit ensuite de s\u2019adonner aux plaisirs de la trivialit\u00e9 et de l\u2019\u00e9rotisme, pr\u00e9lude au plongeon dans l\u2019abyme de Sal\u00f2 ou les 120 journ\u00e9es de Sodome<\/i>.<\/p>\n

Le film de Pasolini respecte le r\u00e9cit de la l\u00e9gende de M\u00e9d\u00e9e, d\u2019apr\u00e8s la trag\u00e9die d\u2019Euripide. Jason, \u00e0 la recherche de la Toison d\u2019Or, rencontre M\u00e9d\u00e9e sur l\u2019\u00eele de Colchide. Ils s\u2019exilent \u00e0 Corinthe o\u00f9 r\u00e8gne Cr\u00e9on. Quelques ann\u00e9es plus tard, Jason trompe M\u00e9d\u00e9e avec la fille du roi Cr\u00e9on, Glauce. Pour se venger, M\u00e9d\u00e9e provoque par magie la mort de sa rivale, puis s\u2019immole avec ses deux enfants sous les yeux de Jason impuissant. Dans M\u00e9d\u00e9e<\/i>, Pasolini transforme Laurent Terzieff en inoubliable Centaure et offre \u00e0 Maria Callas son unique r\u00f4le au cin\u00e9ma. La cantatrice, depuis longtemps courtis\u00e9e par les producteurs et les cin\u00e9astes, avait d\u00e9clin\u00e9 toutes les propositions, dont de nombreux projets d\u2019op\u00e9ras film\u00e9s, avant d\u2019\u00eatre int\u00e9ress\u00e9e par un \u00ab\u00a0Macbeth\u00a0\u00bb r\u00e9alis\u00e9 par Antonioni ou Bolognini qui ne se fera jamais.<\/p>\n

Devant la cam\u00e9ra de Pasolini, Callas se r\u00e9v\u00e8le une grande trag\u00e9dienne, par la seule force de son visage et de son regard, presque sans le recours des mots. Elle parvient \u00e0 d\u00e9mythifier le personnage de M\u00e9d\u00e9e en lui apportant davantage d\u2019humanit\u00e9, jusque dans une paradoxale douceur, en opposition tacite avec la vision plus intellectuelle de Pasolini.<\/p>\n

Comme \u0152dipe Roi<\/i> et l\u2019\u00e9pisode du d\u00e9sert de Porcherie<\/i>, Pasolini relit dans M\u00e9d\u00e9e<\/i> le mythe, en le plongeant dans un pass\u00e9 anhistorique et barbare qu\u2019il fait crouler sous les somptueux ornements folkloriques, musicaux et vestimentaires des civilisations anciennes d\u2019Afrique et d\u2019Orient. Pasolini invente un cin\u00e9ma de po\u00e9sie qui fuit la m\u00e9diocrit\u00e9 prosa\u00efque de l\u2019Italie moderne et de la soci\u00e9t\u00e9 mat\u00e9rialiste. C\u2019est un cin\u00e9ma \u00e0 la fois magique et dialectique du retour aux sources de l\u2019art, du mythe, de l\u2019homme, des racines culturelles et intimes. Gr\u00e2ce \u00e0 un d\u00e9tour par le tiers-monde, Pasolini s\u2019approprie la trag\u00e9die de M\u00e9d\u00e9e, comme pr\u00e9c\u00e9demment l\u2019histoire d\u2019\u0152dipe ou la vie du Christ, pour \u00e9voquer son rapport \u00e0 sa m\u00e8re, au peuple ou au sacr\u00e9. M\u00e9d\u00e9e <\/i>est moins c\u00e9l\u00e8bre que L\u2019\u00c9vangile selon Saint Matthieu<\/i>, moins provocateur que Th\u00e9or\u00e8me<\/i> ou Porcherie<\/i>. La r\u00e9trospective \u00e0 la Cin\u00e9math\u00e8que fran\u00e7aise et la ressortie de Carlotta permettra de red\u00e9couvrir une \u0153uvre d\u2019une grande beaut\u00e9 et l\u2019interpr\u00e9tation g\u00e9niale de Maria Callas qui malgr\u00e9 sa l\u00e9gende personnelle parvient \u00e0 s\u2019int\u00e9grer dans l\u2019univers et le cin\u00e9ma de Pier Paolo Pasolini.<\/p>\n

\"Pier<\/a>

Pier Paolo Pasolini et Maria Callas sur le tournage de M\u00e9d\u00e9e<\/p><\/div>\n

 <\/p>\n

Sur Mamma Roma<\/i> et Sal\u00f2 ou les 120 journ\u00e9es de Sodome<\/i> on peut lire\u00a0:<\/p>\n

https:\/\/www.arte.tv\/sites\/olivierpere\/2012\/10\/28\/mamma-roma-de-pier-paolo-pasolini\/<\/a><\/p>\n

https:\/\/www.arte.tv\/sites\/olivierpere\/2012\/05\/15\/salo-ou-les-120-journees-de-sodome-de-pier-paolo-pasolini\/<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

\u00a0<\/i><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Mercredi d\u00e9bute la grande r\u00e9trospective consacr\u00e9e \u00e0 Pier Paolo Pasolini \u00e0 la Cin\u00e9math\u00e8que fran\u00e7aise (jusqu\u2019au 2 d\u00e9cembre), accompagn\u00e9e d\u2019une exposition\u2026<\/p>\n","protected":false},"author":116,"featured_media":10625,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"yoast_head":"\nM\u00e9d\u00e9e de Pier Paolo Pasolini - Olivier P\u00e8re<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arte.tv\/sites\/olivierpere\/2013\/10\/12\/medee-de-pier-paolo-pasolini\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"M\u00e9d\u00e9e de Pier Paolo Pasolini - Olivier P\u00e8re\" \/>\n<meta property=\"og:description\" content=\"Mercredi d\u00e9bute la grande r\u00e9trospective consacr\u00e9e \u00e0 Pier Paolo Pasolini \u00e0 la Cin\u00e9math\u00e8que fran\u00e7aise (jusqu\u2019au 2 d\u00e9cembre), accompagn\u00e9e d\u2019une exposition\u2026\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.arte.tv\/sites\/olivierpere\/2013\/10\/12\/medee-de-pier-paolo-pasolini\/\" \/>\n<meta property=\"og:site_name\" content=\"Olivier P\u00e8re\" \/>\n<meta property=\"article:published_time\" content=\"2013-10-12T02:26:15+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2013-10-02T12:27:31+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2013\/08\/Pasolini5.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1397\" \/>\n\t<meta property=\"og:image:height\" content=\"750\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Olivier P\u00e8re\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"Olivier P\u00e8re\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.arte.tv\/sites\/olivierpere\/2013\/10\/12\/medee-de-pier-paolo-pasolini\/\",\"url\":\"https:\/\/www.arte.tv\/sites\/olivierpere\/2013\/10\/12\/medee-de-pier-paolo-pasolini\/\",\"name\":\"M\u00e9d\u00e9e de Pier Paolo Pasolini - 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