Giasone e il Centauro 1

Giasone e il Centauro 2

Why in the first still Centaur (Laurent Terzieff) looks at the Jason-the child, while in the second still he puts his gaze down?

Everything’s sacred in nature. Remember, my boy: there’s nothing natural in nature. When it seems natural to you, it’ll be the end. Something else will start. Good-bye sky, Good-bye Sea. But now the sky is beautiful! To look at it makes us happy… Don’t you think that even a little piece of nature could be possessed by a god? What you see is an apparition. Look at that black streak on the sea, shining and pink like oil. The shadows of the trees. A god is hidden everywhere you look. lf he is not, he’s left traces of his sacred presence: the silence, smell of the grass, the chill of fresh water. Yes, everything’s sacred. But sanctity is also a curse. Whilst the gods love, they also hate. May be you think that besides being a liar, l ‘m also too poetic. For ancient man the emotion he feels at the sight of a summer sky equals the more internal, personal experiences of modern man. You’ll travel to distant lands. You’ll experience things in a world we can only imagine. That which it can’t foresee, sadly, are the errors it will lead you to. Who knows how many there’ll be? That which man has witnessed in the cultivation of grains, that which he has understood from seeds as they are reborn, represents a definite lesson: the resurrection. But this lesson is no longer useful. That which he has gleaned from seeds holds no more meaning for you. It’s like a distant memory that no longer affects you. In fact, there are no gods.

Giasone/Jason as a child who is welcoming the world as soon as he is seeing it

Giasone and Chirone are in the midst of the world

Giasone is thirteenth years old – he is listening to his teacher (Centaur): Life is very realistic. Only he who is mythical is realistic and vice versa. This is what our divine reason foresees. That which it cannot foresee, sadly are the errors it will lead you to.

Il Centauro Chirone (Laurent Terzieff) instructs Jason (Juiseppe Gentile) in his first adult adventure – You’ll go to your uncle who stole your throne, and reclaim your rights. To eliminate you, he’ll have to come up with an excuse. He’ll send you on a quest, may be to retrieve the Golden Fleece…

Centaur – What are you doing here? What are we doing here?
Jason – Is it a vision?
Centaur – We are both inside you. You have produced us.
Jason – But I knew only one Centaur.
Centaur – No, you have known two – The sacred one, when you were a boy, and the desecrated one, when you became a man. But what was sacred is preserved in the new – desecrated form. And now we are one beside the other. He speaks not much of course, I can speak for him.
Jason – Why I have to know all of this?
Centaur – Because it is reality. You to love Medea and you also pity her. You understand her catastrophe, her confusion connected with her being from ancient world but living in a new world.
Jason– But why are you telling this to me?
Centaur– Because nothing can stop the old centaur from thinking. And nothing can stop the new centaur from expressing it.

Centaur during his apparition in front of Jason is opening to him the unbearably cruel truth of his adult destiny

In a world which is based on calculation of one’s advantages and gains as ultimate value, compassion to others and the ability to sacrifice career and social success is above human power

After doing what he had to do – to encourage Jason for his betrayal of Medea and their children, to prepare him to be strong for the sake of his future, Centaur Chiron (Laurent Terzieff) feels… post-factum compassion for Medea (Maria Callas) for what awaits her.

Medea’s older son whom she in despair after her husband’s betrayal, will kill – to share with Jason their mutual suffering (the only feeling they will have in common together, forever).

Pasolini is rehearsing with Laurent Terzieff the last scene of brief final talk between Centaurus Chiron and Jason