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An extensive collection of much previously unpublished archival material including documents from Luigi Pirandello's theoretical essays and reviews. Emphasising Pirandello as a multi-faceted man of the theatre, this book follows the rise and fall of his own theatre company and his attempts to reform deeply entrenched practices in Italian theatre during the years of Fascism. Susan Bassnett and Jennifer Lorch are lecturers of Italian at the University of Warwick, UK.
This book investigates the transposition of short stories to drama in the works of two leading Sicilian authors, Giovanni Verga (1840-1922) and Luigi Pirandello (1867-1936), focussing specifically on their representation of women. De Francisci argues that, once the female characters are transposed into the dramatic genre, they gain a voice of their own and thus become 'new' women whose antecedents can be traced to Henrik Ibsen's A Doll's House (1879). In uncovering the voices of the 'new' women, the book draws attention to the early actresses, namely Eleonora Duse (1858-1924) and Marta Abba (1900-1988), who were instrumental in transforming the female characters from their fictional existence on the page to their physical enactment on the stage, and were key influences on Verga and Pirandello respectively. By revealing the evolution of the female voice in the two authors' works and the added enrichment of this voice as a result of its transposition to the dramatic genre, the book offers new insights into why the narrative genre is so well suited to Verga's preoccupations, why the theatrical form is more effective in articulating Pirandello's umorismo, and what Pirandello's adaptations reveal about the way in which he comes to negotiate the transition from Realism (or verismo) to Modernism. Enza De Francisci is Lecturer in Translation Studies at the University of Glasgow.
Luigi Pirandello is best known in the English-speaking world for his radical challenge to traditional Western theatre with plays such as Six Characters in Search of an Author. But theatre is just one manifestation of his experiments with language which led to a remarkable collection of novels,short stories, and essays as well as his work for a film industry then in its infancy. This study, which is based on the view that Pirandello's writings are most fruitfully discussed in a European context, takes as its starting-point the author's belief in the primacy of the literary character in acreative process which is necessarily conflictual.The book argues that all Pirandello's characters are engaged in a continual performance which transcends the genre distinction between narrative and dramatic forms. In this performance it is the spoken word in which the characters invest most heavily as they struggle to sustain an identity of theirown, tell their life-stories, and assert themselves before their most prominent antagonist, the author himself.
Publisher Description
With sensitive commentary on the letters, Daniela Bini reads the plays the old maestro wrote for the young actress as the sublimation of an erotic impulse he denied throughout his life. From Diana and Tuda to The Mountain Giants, Bini maintains, Pirandello makes love to Marta in the only way he could, the mystical union of the creator and his muse.