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Threshold Spaces Reconfiguration: On Pinocchio’s Metamorphosis, Between Collodi and Comencini

Riconfigurazione di spazi-soglia. Sulle metamorfosi di Pinocchio, tra Collodi e Comencini

Metamorphosis is a threshold infringement marking the passage to a new configuration; an intersemiotic translation is also a threshold infringement and a code one. In the comparison between Collodi’s Le avventure di Pinocchio to Luigi Comencini’s 1972 TV adaptation of the same title, and taking into account three further threshold-spaces – intercodical (technical), chronological (historical), and interpretative (ethical-artistic) –, this study aims to interpret the filmic adaptation, based on the addition to the original fabula of metamorphic stages which were not in the source-text: the reversible transformations of Pinocchio the puppet in Pinocchio the boy. Recurrent metamorphoses become narrative plot, associated with a moral meaning; denying Collodi’s narrative gratuitousness and dialectics of disorientation/re-collocation, Comencini replaces these interpretative bets with inferential intuitions connected to an ethical code. Furthermore, the comparison of the TV adaptation with the source-text allows for a clarification of some unresolved or ambigous passages of the latter, casting new light right on the metamorphic nature of Collodi’s Pinocchio.

Metamorphosis is a threshold infringement marking the passage to a new configuration; an intersemiotic translation is also a threshold infringement and a code one. In the comparison between Collodi’s Le avventure di Pinocchio to Luigi Comencini’s 1972 TV adaptation of the same title, and taking into account three further threshold-spaces – intercodical (technical), chronological (historical), and interpretative (ethical-artistic) –, this study aims to interpret the filmic adaptation, based on the addition to the original fabula of metamorphic stages which were not in the source-text: the reversible transformations of Pinocchio the puppet in Pinocchio the boy. Recurrent metamorphoses become narrative plot, associated with a moral meaning; denying Collodi’s narrative gratuitousness and dialectics of disorientation/re-collocation, Comencini replaces these interpretative bets with inferential intuitions connected to an ethical code. Furthermore, the comparison of the TV adaptation with the source-text allows for a clarification of some unresolved or ambigous passages of the latter, casting new light right on the metamorphic nature of Collodi’s Pinocchio.

10.13125/2039-6597/206