Pasolini. Io so - Mitteilungen an die Zukunft (UA)

On 2 November 1975, Pier Paolo Pasolini was brutally murdered in Ostia, near Rome. Alberto Moravia would later say: ‘... the murderers were the arm that killed Pasolini, but the clients were thousands, basically the whole of Italian society.’ No one in Italy was better known than Pasolini, the poet, writer, film-maker, essayist and painter, who wrote political columns in the best-known Italian newspapers for many years and gave countless interviews. No one was so attacked by the political public - 33 lawsuits were brought against him, among other things because of his homosexuality and his films. At the time of his murder, he was editing the film ‘Salo, the 120 days of Sodom’ and writing the monumental novel ‘Petrolio’: Chapter 21 disappeared, in which Pasolini presumably revealed hidden connections between politics, institutions and - possibly - the Mafia. Nobody knows about it to this day. It is obvious that the murder was an organised crime, even if it has still not been dealt with.

The production takes us into Pasolini's inner world, his immense creative power allows us to recognise to this day how strong his will to express himself and his political intentions were. 

The production takes us inside Pasolini's world, his immense creative power allows us to recognise to this day how strong his will to express himself and his political intentions were.
 

Following the premiere, we cordially invite all guests to the premiere party with DJ Ben Postler and italo hits.
 

Follow-up discussions on the production will take place on 9 February and 27 February with Roberto Ciulli, dramaturge Paola Barbon and the ensemble. On 13 March, Roberto Ciulli and Eva Mattes will talk afterwards about the secrets of acting.

Sarah Heppekausen, nachtkritik:

“Ciulli's approach to Pasolini is full of allusions, a loving and respectful approach to his far-reaching creative power, which nevertheless often remains shrouded in mystery.” 

Dorothea Marcus, TAZ:

“Director Ciulli is a master of the fine balancing act of irony and metaphysics. In “Io so” he also creates a surreal world between life and death, between consolation and mourning for the whole world. Ciulli creates a monument to the artist Pasolini by letting him speak to us from the realm of the dead. It is no longer about anger at the circumstances or concrete resistance - rather about the delicate, imperfect and invincible counter-voice of art.”

Dietmar Zimmermann, Rheinische Post:

““Messages to the Future” is the second part of the title of Ciulli's text collage. Pasolini does indeed contain political allusions of visionary power: the climate catastrophe, the radicalization tendencies in politics, the streams of refugees from Arabia - the man foresaw all of this precisely. But the look back, the support that religion gave him - despite the often criticized organization of the church - also finds its place in the Mülheim work. [...] Ciulli's performance has become a declaration of love full of empathy.”

Jens Dirksen, WAZ:

“In these images full of surreal stage magic [...] Eva Mattes embodies Pasolini's mother with all the presence and movement intelligence of a truly great actress.