© Luca Concas
Tribute to Pier Paolo Pasolini
Bimba ’22
chasing Laura Betti and Pier Paolo Pasolini
by and with Elena Bucci
lighting design Loredana Oddone with the contribution of Max Mugnai
sound dramaturgy, electronics interventions, and recordings Raffaele Bassetti
costumes Nomadea
set-up assistants Nicoletta Fabbri, with the help of Federico Paino
scene photos iAnt, Claudia Verroca
production ERT/ Teatro Nazionale in collaboration with Le belle bandiere
and with the support of Regione Emilia-Romagna, ATER Fondazione, Comune di Russi
thanks to:
Comune di Bologna, Teatro Comunale Laura Betti di Casalecchio e Teatro Comunale di Russi, Cineteca di Bologna, Centro Studi Archivio Pier Paolo Pasolini di Bologna e Fondo Laura Betti per il prezioso lavoro di ricerca e documentazione e per la possibilità di consultare i materiali, Gabriele Trombetti per la gentile concessione di materiale fotografico, video e interviste e tutti coloro che hanno voluto raccontarmi di lei
«I read her writings, and the writings of those who knew her. I read and re-read Pasolini, and I’m always surprised by his prophecies and his limpid visions. It is not hard to understand how PPP, who called her Bimba, could be her love, her reason for living, her anchorage, her eternal, visceral paragon.» With greedy curiosity and rare expressive sensitivity, Elena Bucci dives deep into her memories: «I keep a diary, engaging her into an imaginary conversation; I try to get to know her, recognise her. I find her, then I lose her, and look for her again, even though I know I will never find her. So, why such exhilarating effort? In her, I study freedom and all its risks. I search for the language of theatre, the art of an explosive era, full of genius, visions and contrasts. This was only yesterday, yet it seems so far away. I want to remember and desire her, in the frightened drabness of the present».
