Wily peasants, feisty pessimists, frustrated rural sophists, and the entire masquerade of a sadly comic humanity-without-props make up this delightful and valuable collection of all 13 one-act plays by the Italian master.
How much truth and how much illusion does a persion need to live a balanced life. Four actors sit on a darkened stage, awaiting the arrival of the stage manager who has called them together. Lacking his authoritative presence they are merely characters in search of a play to become part of, for their own personalities seem unformed and shallow next to the full-blooded figures they are used to playing. They are also "types," and each of them has absorbed most of what he is from what he pretends to be on the stage. As they wait, the stage lights come up--but still no one appears to tell them what they are to do. They know only that they are not to leave the stage until they have "acted out the play." Suddenly becoming aware that an audience is present, the actors decide to improvise, an idea which finds them slightly flustered. Ernest, the "leading man," exercises the prerogative of star billing and assumes command. He plunges ahead, assigning roles to himself and his colleagues--Winifred, who always plays the "leading lady's best friend"; Lora, the struggling ingenue; and Tony, the juvenile lead. The "drama" which unfolds is a mixture of truth, fantasy and well-rehearsed situations, but out of it, in subtle progression, comes a deepening awareness of the real people behind the theatrical facades.
In Pirandello's Theatre of Living Masks, Umberto Mariani and Alice Gladstone Mariani offer the first new edition in nearly sixty years of six of his major works.
First Published in 1993. Contemporary Theatre Studies is a book series of special interest to everyone involved in theatre. This collection of documents is the first attempt in English to bring together a body of material on Luigi Pirandello as multi-faceted man of the theatre. Because relatively few of his works have been easily available to English language readers, he is thought of most frequently as a playwright, the author of Six Characters in Search of an Author and Henry IV in particular, and his contribution to theatre, both in theory and in practice, has tended to be overlooked. Emphasising his role as a director, the book traces the rise and fall of his own theatre company, the Teatro d’Arte where he struggled to instil new practices and comments on Pirandello’s attempts during the years of Fascism to give Italy a national theatre in a European context.
This book provides a psychoanalytic reading of works of literature, enhancing the illuminating effect of both fields. The first of two volumes, Madness and the Social Link: The Jean-Max Gaudilliere Seminars 1985-2000 contains seven of the "Madness and the Social Link" seminars given by psychoanalyst Jean-Max Gaudillière at the École des hautes études en sciences sociales (EHESS) in Paris between 1985 and 2000, transcribed by Françoise Davoine from her notes. Each year, the seminar was dedicated to an author who explored madness in his depiction of the catastrophes of history. Surprising the reader at every turn, the seminars speak of the close intertwining of personal lives and catastrophic historical events, and of the possibility of repairing injury to the psyche, the mind, and the body in their wake. These volumes expose the usefulness of literature as a tool for healing, for all those working in therapeutic fields, and will allow lovers of literature to discover a way of reading that gives access to more subtle perspectives and unsuspected interrelations.