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No apology is necessary for offering to American readers a play which critics, with singular unanimity, have called one of the most original productions seen on the modern stage. In less than a year's time, "Six Characters in Search of an Author" has won a distinguished place in the dramatic literature of the Western world, attracting audiences and engaging intellects far removed from the particular influences which made of it a season's sensation in Italy.
Yet the word "original" is not enough, unless we embrace under that characterization qualities far richer than those normally credited to the "trick" play. The "Six Characters" is something more than an unusually ingenious variation of the "play within a play." It is something more than a new twist given to the "dream character" made familiar by the contemporary Italian grotesques. It is a dramatization of the artistic process itself, in relation to the problem of reality and unreality, which has engaged Pirandello in one way or another for more than twenty years.
I venture to insist upon this point as against those observers who have tried to see in the "Six Characters" an ironical satire of the commercial drama, as we know it today, mixed, more or less artificially, with a rather obvious philosophy of neo-idealism. No such mixture exists. The blend is organic. The object of Pirandello's bitter irony is not the stage-manager, nor the theatrical producer, nor even the dramatic critic: it is the dramatist; it is the artist; it is, in the end, life itself.
I suppose the human soul presents no mysteries to those who have been thoroughly grounded in the science of Freud. But in spite of psycho-analysis a few Hamlets still survive. Pirandello is one of them.
What are people really like? In the business of everyday life, nothing is commoner than the categorical judgment sweeping and assured in its affirmatives. But as we cut a little deeply into the living matter of the spirit, the problem becomes more complicated. Do we ever understand the whole motivation of an action—not in others only but even in ourselves?
Oh, yes, there are people who know.... The State knows, with its laws and its procedures. And society knows, with its conventions. And individuals know, with their formulas for conduct often cannily applied with reference to interest.—The ironical element, as everyone has noted, is fundamental in Pirandello!
Apart from works in his earlier manner (realistic pictures from Southern Italian life, including such gems as "Sicilian Limes"), Pirandello's most distinctive productions have dealt with this general theme. No one of them, indeed, exhausts it. And how could this be otherwise? Pirandello, approaching the sixties, to be sure, is nevertheless in spirit a man of the younger Italian generation, which, trained by Croce and Gentile, has "learned how to think." But however great his delight in playing with "actual idealism," he knows the difference between a drama and a philosophical dissertation. His plays are situations embodying conclusions, simple, or indeed "obvious" in their convincingness. They must be taken as a whole—if one would look for a full statement of Pirandello's "thought."
A "thought," moreover, which may or may not invite us to profound reflection. Enough for the lover of the theatre is the fact that Pirandello derives the most interesting dramatic possibilities from it. Sometimes it is the "reality" which society sees brought into contrast with the reality which action proves (Il piacere dell'onestà). Again, it is the "reality" which a man sees in himself thwarted by the reality which actually controls ("Ma non è una cosa seria"). In "Right You Are" (Così è, se vi pare) we have a general satire of the "cocksure," who, placed in the presence of reality and unreality, are unable to distinguish one from the other.
In the "Six Characters" it is the turn of the artist. Can art—creative art, where the spirit would seem most autonomous—itself determine reality? No
- Sales Rank: #995217 in eBooks
- Published on: 2013-03-04
- Released on: 2013-03-04
- Format: Kindle eBook
Most helpful customer reviews
3 of 3 people found the following review helpful.
Too Good To Be True...If You Think So
By propertius
Here are assembled the, perhaps, three most influential plays of the 20th century. Certainly they are the font from which all other modernist plays spring from. Godot would still be waiting if it were not for Pirandello.
What is most gratifying in this edition, are the remarkable introductory notes which succinctly remark upon the nature and importance of these plays and due to the time there were written illustrate how immediate and universal were the impact of these plays. Refreshing to know that at the first performance the audience rioted (they must have been the same audience from Stravinsky's Firebird) and walked out and within a year the same play was being hailed throughout Europe.
Certainly these plays are meant to be seen and not read but they are important for any library even though it takes an actor to bring life to them, more so than any plays written before. The notes in the book will explain why, and for 99 cents one would be foolhardy or a little mad not to purchase it.
0 of 0 people found the following review helpful.
but it is good to delve into this classical genre of literature from ...
By Justina
Interesting plays. Of course the overwhelmng genre now is prose, but it is good to delve into this classical genre of literature from time to time
0 of 0 people found the following review helpful.
I am going through my drama period so I am ...
By Jose
I am going through my drama period so I am interested about plays. I had this course at college so I want to explore the stuff out there
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