The Robb’d that Smiles: Pasolini’s Humorous Tragedy

Abstract

In the studies about Pasolini’s work the analysis of the use of comedy and humor is often ignored. This article analyzes the relationship of Pasolini with the forms of comedy, from the indication of Charlot as emblematic point of reference for his own intellectual commitment to the development of an original meaning of the concept of humor. By analyzing statements and plays, a new aspect of Pasolini comes to light. In a conscious and tormented way, Pasolini adheres to humor as the main means of the bourgeoisie, entrusting to it much of its work in the last decade of his life. For Pasolini humor is the communication code of the bourgeoisie, that bourgeoisie uses to distance itself from reality. Thus, by using humor as alienating weapon inside the form-tragedy, Pasolini plans to fight bourgeoisie, challenging it on the ground of the theatrical representation of reality, through its own communication means.