Waldenfels’ analysis of contemporary avant-gard theater in his book Senses and Arts in Mutual Play. Modi of Aesthetic Experience (Frankfurt 2010) gives also a brief comparison with the work of Pier Paolo Pasolini, in fact with a scenic adaptation (“Like a Dog without any Owner”) of the unfinished and posthumous novel Oil, a sort of Satyricon of nowadays. Waldenfels emphasizes above all Pasolini’s phenomenological attitude towards doubleness and strangeness in his analysis of the limits of experience, exemplified by the relationship of the Self with its own body and with the other. An aesthetical epochè seems to be at work according to Waldenfels’ interpretation of Pasolini, but also his ‘reading’ of Pasolini seems to be the exercise of an affectional and responsive epochè, at least because of his indirect writing.
