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    Sei personaggi in cerca d'autore
    Sei personaggi in cerca d'autore
    Sei personaggi in cerca d'autore
    Ebook108 pages1 hour

    Sei personaggi in cerca d'autore

    By Luigi Pirandello

    3.5/5

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    About this ebook

    Sei personaggi in cerca d'autore è il dramma più famoso di Luigi Pirandello. Esso fu rappresentato per la prima volta il 9 maggio 1921 al Teatro Valle di Roma, ma in quell'occasione ebbe un esito tempestoso, perché molti spettatori contestarono la rappresentazione al grido di "Manicomio! Manicomio!". Fu importante, per il successivo successo di questo dramma, la terza edizione, del 1925, in cui l'autore aggiunse una prefazione nella quale chiariva la genesi, gli intenti e le tematiche fondamentali del dramma.
    È considerata la prima opera della trilogia del teatro nel teatro, comprendente Questa sera si recita a soggetto e Ciascuno a suo modo.
    LanguageItaliano
    PublisherOregan Publishing
    Release dateMar 12, 2018
    ISBN9782377877515
    Sei personaggi in cerca d'autore
    Author

    Luigi Pirandello

    Luigi Pirandello (1867-1936) was an Italian playwright, novelist, and poet. Born to a wealthy Sicilian family in the village of Cobh, Pirandello was raised in a household dedicated to the Garibaldian cause of Risorgimento. Educated at home as a child, he wrote his first tragedy at twelve before entering high school in Palermo, where he excelled in his studies and read the poets of nineteenth century Italy. After a tumultuous period at the University of Rome, Pirandello transferred to Bonn, where he immersed himself in the works of the German romantics. He began publishing his poems, plays, novels, and stories in earnest, appearing in some of Italy’s leading literary magazines and having his works staged in Rome. Six Characters in Search of an Author (1921), an experimental absurdist drama, was viciously opposed by an outraged audience on its opening night, but has since been recognized as an essential text of Italian modernist literature. During this time, Pirandello was struggling to care for his wife Antonietta, whose deteriorating mental health forced him to place her in an asylum by 1919. In 1924, Pirandello joined the National Fascist Party, and was soon aided by Mussolini in becoming the owner and director of the Teatro d’Arte di Roma. Although his identity as a Fascist was always tenuous, he never outright abandoned the party. Despite this, he maintained the admiration of readers and critics worldwide, and was awarded the 1934 Nobel Prize for Literature.

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    Reviews for Sei personaggi in cerca d'autore

    3.5/5

    262 ratings13 reviews

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    • 4/5
      3½ stars. Upgraded this to 4 after discussion.

      It took me a bit to warm up to this unusual play but in the end it was thought-provoking. I would like to see a performance!
    • 5/5
      Oh, this play is great. What a fucking thing it is. It's about how we create our own realities: how each of us choose to play a character, to such an extent that we sometimes sit outside ourselves, watching our characters act out their scenes. And it's about the subjective nature of reality: how to each of us, the scenes we live through may be be completely different to each actor in them.

      I was talking to a friend recently about the beginning of our relationship, and discovered that her perception of that period has almost nothing in common with mine. If we both explained it to a third party, we would tell wholly different stories. Weird, huh? Both of our stories are equally true; they're just different.

      Recently, in an unguarded moment, a different friend of mine let slip who he thinks I am. It was not at all who I think I am! Among other things, his version of me - inexplicably - is not a Viking. I'm pretty sure he was projecting there, but how would I know? Is there anyone less qualified to interpret me than me?

      This is what Pirandello's dealing with, at least until Act III when he starts to talk about the writing process and also to wrap up his own plot. It's a very smart play, and years ahead of its time. My character enjoys it. A character under that thinks it's a little show-offy. A character under that is scared that he didn't get it at all, and a character under that is afraid that his opinion hasn't even been written.
    • 4/5
      They say I was born in June. The day, the year somehow ceases to exist. I live with my mother. She stares at the wall, singing songs unnoticing my existence in the house. Is this how being an orphan feels like? I used to work at Madame Pace’s dress shop. Only it wasn't a dress shop. It was a whore house where I used to entertain clients throughout the night. My mother was unaware of my earnings, but as if it mattered. Then, one day I fell in love. In fact, I fell in love with his eyes. The same brown affectionate eyes that I own. They were so memorable, they were mine. I could see myself in them. My eyes on this strange face, mesmerizing yet daunting. He was my client, elderly yet so affectionate. Months went by, but he never visited me again. I looked for him but no avail. They say, he shot himself out of guilt. He was my biological father. The shame of seducing his own blood ate him up after finding my truth. So, as I lay in a pool of blood, the cold metal burning against my sinful hands, I pierce the sharp edge into the warm blob of flesh. I killed my baby. I killed my brother. I practically cease to exist now. Shame and numbness has weighed my soul into nothingness. The man once my mother had left my father for took her away. So, here I come to you with an unfilled life and an unfinished story pleading you to bring an authored conclusion.

      “You imbecile”, yelled the stage-manager. “You expect me to believe this garbage and let my actors perform your absurdity".

      “Yes”, I affirm, “The settings should be realistic and the truth should be told in its unaltered form.”

      “I am an unrealized character sir”, I humbly say, “I need you to finish my story and bring it to life”.

      The stage manager now enraged walks away hurling obscenities and muttering, “Acting is our business here. Truth up to a certain point, but no further”; as he looks at me with a sardonic smile.


      Pirandello illuminates the ‘Theatre of Absurd’ genre in this bizarre performance. A form of drama that emphasizes the absurdity of human existence by employing disjointed, repetitious and meaningless dialogue, purposeless and confusing situations and plots that lack realistic or logical development. Purely in its theatrical form he depicts a tale of six characters in search of an author who is able not only to complete their fragmentary story but to perform their ingenuous legitimacy. A story which is not a story after all. Through the numerous arguments between the six characters and the stage manager about portrayal of reality in its unaltered state to the audiences marks the debate of life reality v/s stage reality. The sense of illusion what is illustrated to be a reality on performance stage is far from the factual forms.

      The plethora of reality television that demarcates an entire generation outlook mutates the genuineness of its characters. How real are the nuances of these actors who state publicly that their respected shows are not scripted but spontaneous? The movies that state ‘based on a true story’, how far do they enact the truth or is pragmatism edited to normalization of absurdity. Pirandello stresses on the theatre being an illusion of reality where actors masquerade real emotions through rehearsals and mutability.

      A brilliant existentialism perception of individuals being characters all through their life portraying roles that they're born into and the normality of emotions attached to their specific roles. Who are we? The roles that we are born into or the tangible roles we want to play.
    • 2/5
      meh, a play about a play by characters who don't play nice
    • 2/5
      Six Characters in Search of an Author was moderately interesting, but horribly didactic. For its time and context is is incredible, but I don't think it holds up as well today.
    • 4/5
      This is a play from 1921 – an intellectual comedy which contrasts illusion with reality by introducing six individuals to a bare stage occupied by actors in rehearsal. These six characters proclaim themselves to be the incomplete creations of an author’s imagination and demand dialog for the story of their lives. The following is a favorite quote from the play where the character of the Father is talking to the Manager of the theater company. Needless to say the Manager has been skeptical that the six characters solely exist because they were created by an author. “It's only to show you that if we (indicating the CHARACTERS) have no other reality beyond the illusion, you too must not count overmuch on your reality as you feel it today, since, like that of yesterday, it may prove an illusion for you tomorrow.”I found the whole play to be fascinating. What an idea that characters are more real than us and their reality is more concrete because it always remains what was created by an author. This is available through Project Gutenberg and is a really quick read. If this concept is at all interesting to you, I would strongly recommend talking the time to read it.
    • 4/5
      Excellent play. If you are in the London area it's a must-see. I don't want to spoil it, but it is fantastic, so I had to get a copy of the play and read the adaptation. Very well done.
    • 4/5
      I don't normally enjoy reading plays. It is like reading music notes on page instead of listening to the orchestra, or reading about perfume instead smelling the scent. I would much rather watch the play than read it. But I picked this one up because of the author and found myself enraptured by the concept.

      As a part of inspiration for Waiting for Godot and other existentialism plays, this play focuses on six characters in search of an author - and their drive to make their lives into some semblance of reality.

      I loved this. It was a mix of philosophy and contemplating the meaning of life, all the while breaking the fourth wall, naming the author by name, and asking whether we are all actors in a play.

      This is one of my more favorited quotes.

      The Father [with dignity, but not offended ]. A character, sir, may always ask a man who he is. Because a character has really a life of his own, marked with his especial characteristics; for which reason he is always "somebody." But a man – I'm not speaking of you now – may very well be " nobody.

      Characters who have come to life, yet have no author to claim them, ask the actors whether they are playing at an illusion when they try to imitate the characters. And it is ironic because they actually do have an author.

      There is just so much packed into 70 short pages.

      4.5 stars. Quite lovely.
    • 3/5
      Once upon a time this must have been brilliant, but it was already old hat when I was in high school. That's a problem with most things "experimental".

      Library copy
    • 3/5
      This creepy little one act play is strange but also captivating. A theatre crew is about to start a rehearsal when six people show up asking for help. They need someone to listen to their story and they want to perform it at the theatre. The crew finally agrees and is quickly drawn into the world the create.The six people are claiming to be characters created by an author who never completed their story. They want nothing more than to know how their tale ends. The idea for the book alone is enough of a reason to read it. BOTTOM LINE: It's an eerie little book and a production I would love to see preformed some day. I'm sure seeing it would pack a bigger punch. "Like most people I can only act the part I've chosen for myself, or that's been chosen for me. But as you see, the role sometimes runs away from me, and I get a little melodramatic. All of us do." 
    • 4/5
      A seminal work in modern drama, and generally regarded as Pirandello's masterpiece, Six Characters is more thought provoking than entertaining (although I've never seen a live performance, and I imagine it works pretty well on stage). All of Pirandello's plays explore the conflict between appearance and reality, and Six Characters adds an additional dimension by separating the "characters" from their author's concept (almost like a platonic "ideal" that is only vaguely understood by the author who puts the role on paper).
    • 4/5
      Six Characters in Search of an Author annoyed me so much at first! It's a hard play to grasp at the beginning, but it starts to make sense and it's a unique play with an odd dynamic. Pirandello did a great job with the writing, he obviously knew what he was going for and it came out clear in the ending.
    • 4/5
      Is this one of the greatest plays ever? No. Is it worth reading? Yes. The concept is extremely interesting. Six characters simply show up on stage during some other play, and they claim that they are characters from another play that went unfinished because the author died. In telling their story, it is clear that they have their story already and they need no one to finish it for them. Creative idea and a short, quick read.

    Book preview

    Sei personaggi in cerca d'autore - Luigi Pirandello

    Premessa

    La rappresentazione di questa commedia dovrebbe cominciare sulla strada o, più propriamente, sullo spiazzo davanti al teatro, con l'annunzio (gridato da due o tre strilloni) e la vendita d'un «Giornale della Sera» appositamente composto su un foglio volante, di modo che possa figurare come un'edizione straordinaria, sul quale a grossi caratteri e bene in vista, nel mezzo, fosse inserita questa indiscrezione in esemplare stile giornalistico:

    Non basta. Gli spettatori che entreranno nel teatro per comperare i biglietti, vedranno nei pressi del botteghino l'attrice di cui il giornale ha dato le iniziali A. M., cioè Amelia Moreno là in persona, fra tre signori in smoking che invano cercheranno di persuaderla a rinunziare al proposito d'entrare nel teatro ad assistere allo spettacolo; vorrebbero portarla via; la pregano d'esser buona e togliersi almeno dalla vista di tanti che potrebbero riconoscerla: il suo posto non è là; per carità, si lasci condurre via; vuol fare uno scandalo? Ma lei, pallida, convulsa, fa sehno di no, di no; vuol restare, vedere la commedia, fin dov'è arrivata la tracotanza dello scrittore; si porta ai denti il fazzolettino e lo lacera; si fa notare e, appena se n'accorge, vorrebbe nascondersi o inveire; ripete continuamente ai suoi amici che vuole un palco in terza fila; si terrà indietro per non farsi vedere; vadano, vadano a comprare il biglietto; promette che non darà scandalo; che andrà via, se non potrà piú reggere; un palco di terza fila; insomma, vogliono che vada lei a comprarlo?

    Questa scena a soggetto, ma proprio come vera, dovrebbe cominciare qualche minuto prima dell'ora fissata per l'inizio dello spettacolo e durare, tra la sorpresa, la curiosità e fors'anche una certa apprensione degli spettatori veri che si dispongono a entrare, fino allo squillo dei campanelli nell'interno del teatro.

    Intanto, contemporaneamente, gli spettatori già entrati, o che a mano a mano entreranno, troveranno nel ridotto del teatro, o nel corridoio davanti la ala, un'altra sorpresa, un altro motivo di curiosità e fors'anche d'apprensione in un'altra scena che farà colà il barone Nuti coi suoi amici.

    «State tranquilli, state tranquilli: sono calmo, vedete? calmissimo. E v'assicuro che sarò più calmo, se voi ve n'andate. Attirate voi, con lo starmi così attorno, lo sguardo di tutti! Lasciatemi solo, e nessuno baderà piú a me. Sono infine uno spettatore come gli altri. Che volete che faccia in teatro? So che lei verrà, se non è già venuta; la voglio rivedere, rivedere soltanto; ma sí, ma sí, da lontano; non voglio altro, rassicuratevi! Insomma, volete andarvene? Non mi fate dare spettacolo qua alla gente che viene a divertirsi alle mie spalle! Voglio restar solo, come debbo dirvelo? Calmo, sí, calmo: piú calmo di cosí?»

    E andrà avanti e indietro, col viso stravolto e il corpo tutt'un fremito, finché tutti gli spettatori non saranno entrati nella sala.

    Tutto questo servirà a spiegare al pubblico perché sui manifesti di questa sera la Direzione del teatro ha stimato prudente fare apporre il seguente:

    Nota bene. Non è possibile precisare il numero degli atti di questa commedia, se saranno due o tre, per i probabili incidenti che forse ne impediranno l'intera rappresentazione.

    Personaggi

    Fissati nella commedia sul palcoscenico:

    Delia Morello - Michele Rocca - La vecchia signora Donna Livia Palegari e i suoi invitati, le sue amiche e i vecchi amici di casa - Doro Palegari, suo figlio, e Diego Cinci, suo giovane amico - Il vecchio cameriere di casa Palegari, Filippo - Francesco Savio, il contradditore, e il suo amico Prestino, altri amici, il Maestro di scherma e un cameriere.

    *

    Momentanei nel ridotto del teatro:

    La Moreno (che tutti sanno chi è) - Il barone Nuti - Il Capocomico - Attori e Attrici - Il Direttore del teatro - L'Amministratore della compagnia - Usceri del teatro - Carabinieri - Cinque critici drammatici - Un vecchio autore fallito - Un giovane autore - Un letterato che sdegna di scrivere - Lo spettatore pacifico - Lo spettatore irritato - Qualcuno favorevole - Molti contrarii - Lo spettatore mondano - Altri spettatori, signori e signore.

    Atto primo

    Siamo nell’antico palazzo della nobile signora Donna Livia Palegari, nell’ora del ricevimento, che sta per finire. Si vedrà in fondo, attraverso tre arcate e due colonne, un ricchissimo salone molto illuminato e con molti invitati, signori e signore. Sul davanti, meno illuminato, vedremo un salotto, piuttosto cupo, tutto damascato, adorno di pregiatissime tele, la maggior parte di soggetto sacro; cosicché ci sembrerà di trovarci nella cappella d'una chiesa, di cui quel salone in fondo, oltre le colonne, sia la navata: cappella sacra d’una chiesa profana. Questo salotto avrà appena una panca e qualche scranna per comodità di chi voglia ammirar le tele alle pareti. Nessun uscio. Ci verranno dal salone alcuni degli invitati, a due, a tre alla volta, per farsi, appartati, qualche confidenza; e, al levarsi della tela, ci troveremo un Vecchio Amico di casa e un Giovine sottile, che discorreranno tra loro.

    Il giovine sottile (con un capino straziato, d’uccello pelato).      Ma che ne pensa lei?

    Il vecchio (bello, autorevole, ma anche un po’ malizioso, sospirando).   Che ne penso!

    Pausa.

    Non saprei.

    Pausa.

    Che cosa ne dicono gli altri?

    Il giovine sottile.        Mah! Chi una cosa e chi un’altra.

    Il vecchio. S’intende! Ciascuno ha le sue opinioni.

    Il giovine sottile.        Ma nessuno, per dir la verità, par che ci s’attenga sicuro, se tutti come lei, prima di manifestarle, vogliono sapere che cosa ne dicono gli altri.

    Il vecchio. Io alle mie mi attengo sicurissimo; ma certo la prudenza, non volendo parlare a caso, mi consiglia di conoscere se gli altri sanno qualche cosa che io non so e che potrebbe in parte modificare la mia opinione.

    Il giovine sottile.        Ma per quello che ne sa?

    Il vecchio. Caro amico, non si sa mai tutto!

    Il giovine sottile.        E allora, le opinioni?

    Il vecchio. Oh Dio mio, mi tengo la mia ma – ecco – fino a prova contraria!

    Il giovine sottile.        No, mi scusi; con l’ammettere che non si sa mai tutto, lei già presuppone che ci siano codeste prove contrarie.

    Il vecchio (lo

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