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An Italian nobleman falls from his horse during a pageant. When he comes round, he believes he's the medieval German emperor, King Henry IV. For twenty years he lives this illusion but today a plot is being hatched to shock him out of this 'madness' and into the twenty-first century.Pirandello's Henry IV, in Tom Stoppard's new version, premiered at the Donmar Warehouse, London, in May 2004.
In The Wave , a young man falls dangerously in love with the tenant downstairs, who is engaged to be married; in The Signorina , a flirtatious young woman is caught between her feelings and her parents desire for a good match; in A Friend to the Wives , the peerless Pia Tolosani leaves a trail of regret in the life of a former suitor.In this collection of stories Pirandello s first published work of fiction the master of Italian modernism dissects the passions that are either dimly felt or unrequited, ultimately raising doubts about the very nature and existence of love, while simultaneously foreshadowing the themes and the psychologically nuanced characters that he would go on to develop in his later works. ABOUT THE SERIES: The 101 Pages series has been created with the aim of redefining and enriching the classics canon by promoting unjustly neglected works of enduring significance. These texts have been treated with a fresh editorial approach, and are presented in an elegantly designed format.
This special one-volume edition features five great plays by one of the most celebrated and fascinating dramatists of the twentieth century. Pirandello, awarded the Nobel Prize in 1934, was the playwright par excellence of the conflict between illusion and reality. His modern and sensationally original plays dramatize with force and eloquence the isolation of the individual from society and from himself. The editor, Eric Bentley, is an international theater authority. In addition to the Introduction and the biographical and bibliographical material in the Appendices, Mr. Bentley has prepared for this volume the first English translations of the play Liolà and Pirandello’s important “Preface” to Six Characters in Search of an Author. Included Plays: Liolà It Is So! (If You Think So) Henry IV Six Characters in Search of an Author Each in His Own Way
Regarded as one of Europe’s great modernists, Pirandello was also a master storyteller, a fine observer of the drama of daily life with a remarkable sense of the crushing burdens of class, gender, and social conventions. Set in the author’s birthplace of Sicily, where the arid terrain and isolated villages map the fragile interior world of his characters, and in Rome, where modern life threatens centuries-old traditions, these original stories are sun baked with the deep lore of Italian folktales. In “The Jar,” a broken earthenware pot pits its owner, a quarrelsome landholder, against a clever inventor of a mysterious glue. “The Dearly Departed” tells the story of a young widow and her new husband on their honeymoon, haunted at every turn by the sly visage of the deceased. The scorned lover, the despondent widow, the intransigent bureaucrat, the wretched peasant—Pirandello’s characters expose the human condition in all its fatalism, injustice, and raw beauty. For lovers of Calvino and Pasolini, these picturesque stories preserve a memory of an Italy long gone, but one whose recurring concerns still speak to us today.
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Suicide, the act of killing oneself voluntarily and intentionally, is clearly one of the most important themes developed by Pirandello during his long literary career. Although he never focused on self-destruction as an end in itself, he made ample use of it to dramatise his tragic view of the human condition. Indeed, this theme recurs with astonishing frequency in his short stories, play and novels. It even appears sporadically in his poetry.
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.
In Luigi Pirandello's thought-provoking novel, One, No One and One Hundred Thousand, the protagonist, Vitangelo Moscarda, undergoes a profound identity crisis after a casual remark from his wife. This sets him on a journey of self-discovery, questioning the nature of reality, identity, and the multifaceted perceptions others have of him. Through a series of philosophical musings and encounters with various characters, Moscarda grapples with the fragmented nature of the self and the illusions that shape our understanding of the world.
Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on itself as theater, the author reexamines the concepts of metatheater, baroque, and neobaroque through a pairing and close analysis of seventeenth and twentieth century plays. The comparisons include Jean Rotrou's The True Saint Genesius with Jean-Paul Sartre's Kean and Jean Genet's The Blacks; Pierre Corneille's L'Illusion comique with Tony Kushner's The Illusion; Gian Lorenzo Bernini's The Impresario with Luigi Pirandello's theater-in-theater trilogy; Shakespeare's Hamlet with Pirandello's Henry IV and Tom Stoppard's Rosencrantz and Guildenstern are Dead; Moli re's Impromptu de Versailles with "impromptus" by Jean Cocteau, Jean Giraudoux, and Eug ne Ionesco. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. Metatheater, the author concludes, is both performance and performative: it accomplishes a perceptual transformation in its audience both by defending theater and exposing the illusory quality of the world outside.