Calderón is probably Pasolini’s most complex work for the stage. A text that communicates on many levels and involves narratives that constantly intertwine, expand and reconnect in a turbulent world of the imagination. The imagery and writing of Calderón de la Barca meet those of Bertolt Brecht in a reading heavily influenced by Roland Barthes. Franco’s Spain in the 1960s and the student uprisings provide the fertile backdrop for a controversial interpretation of recent history and its legacy, while Velasquez’ painting is an overarching visual motif for the production.
In this intricate semiotic labyrinth, signs and meanings coexist and open a narrow passageway for Pasolini’s ingenious language and thought. The audience is called on to question itself, to reflect on what it means to “be” in history, in our bodies, our works and our dreams.