DOCSLIB.ORG

Pirandello's Dramaturgy of Time

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pirandello's Dramaturgy of Time Pirandello’s Dramaturgy of Time by Laura Lucci A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre, and Performance Studies University of Toronto © Copyright by Laura Lucci 2017 ii Pirandello’s Dramaturgy of Time Laura Lucci Doctor of Philosophy Centre for Drama, Theatre, and Performance Studies University of Toronto 2017 Abstract Luigi Pirandello’s drama, at its heart, deals with the problems of being and becoming, identity, and creativity. His works are centered upon the nature of personal experience and the ways in which we perceive and interact with the world and its inhabitants. But often overlooked is the role that time plays in those dramas’ already complicated and divisive subject matter. While concepts and themes related to time—e.g., memory and narrative—are often at the core of Pirandello’s drama, a cohesive approach to the topic of time and temporality in his work is lacking. This thesis, using three of Pirandello’s majors plays as case studies, will offer an analysis of the playwright’s dramaturgical management of time as a textual theme, as the basis of dramatic narrative, and—in the guise of memory and anticipation—as the ontological foundation of the concept of dramatic character. These plays, written in the midst of the general discourse on time and temporality at work in the early part of the 20th-century, lend themselves to be read in dialogue with 1) the philosophical exploration of the concept of time, memory, and duration developed by Bergson, 2) the phenomenology of internal time consciousness advanced by Husserl, 3) Heidegger’s idea of temporality as the underlying structure of both being and meaning, and 4) Einstein’s consideration of the relativity of mankind’s perception of events in the space-time continuum. In this thesis, I will demonstrate that Pirandello was working at the iii intersection of trends deriving from each of these philosophical premises, creating a theory of dramatic form that is structured by the very concept it illustrates thematically, namely the relativity of time in man’s experience of the world and the notion of temporality as the foundation of all consciousness. iv Acknowledgments With profound gratitude to my supervisor, Domenico Pietropaolo, whose guidance and support allowed this project to grow and develop in ways I could not have conceived of when I began, and to the members of my supervisory committee, Veronika Ambros and Martin Revermann, whose confidence, patience, and good humor enabled me to keep faith in myself and in the work. To Tamara Trojanowska, Antje Budde, and Christopher Innes, whose insight and generosity made the final stages of the project especially meaningful. To the faculty and staff of Saint Mary’s College and the SMC Rome Program who encouraged my pursuits with generosity and enthusiasm, especially Peter Gardner, Chris Cobb, Catherine Pellegrino, and Portia Prebys. To the faculty and staff of the Centre for Drama, Theatre, and Performance Studies, for their magnanimity and insight, which I hope to model in both my professional and personal life—Pia Kleber, Peter Freund, Nancy Copeland, Stephen Johnson, Bruce Barton, T. Nikki Cesare Schotzko, John Astington, Michael Sidnell, Paul J. Stoesser, Rebecca Biason, Samiha Chowdhury, and the late Luella Massey. To my friends and colleagues, especially Amanda Brewer, Christina Kidd, Theresa Larson, Michelle Sherman, Katherine Frazier, Brigid Fitzpatrick, Alyssa Court, Cassandra Silver, Heather Fitzsimmons Frey, Seika Boye, Grace Smith, Natalie Frijia, Art Babayants, Isabel Stowell-Kaplan, Caroline Reich, Aida Jordão, Michael Reinhart, Kelsey Vivash, Shelley Liebembuk, Natalie Mathieson, Sasha Kovacs Lisa Matsumoto, Bianca Hossain, Chris Sutherland, Cameron Crookston, Lainey Newman, Lisa Aikman, Jenny Salisbury, Noam Lior, and to the entire graduate student body at the CDTPS, for your unwavering compassion and open hearts. To my colleagues in the Midwest Modern Language Association, the Pirandello Society of America, and CUPE 3902, for broadening my community. For the kind assistance of the copyright office at Dover Publications. For those friends, family members, and colleagues who, through the shortcomings of my own memory and abilities, I have neglected to thank here, please know that your good influence has made this work possible. v With love and gratitude, this thesis is dedicated to my parents Aldo Lucci and the late Maria Bonadio Lucci vi Table of Contents Pirandello’s Dramaturgy of Time .................................................................................................... i Abstract ........................................................................................................................................... ii Acknowledgments.......................................................................................................................... iv Table of Contents ........................................................................................................................... vi List of Figures ................................................................................................................................ ix Preface .............................................................................................................................................1 Structure of the Thesis ................................................................................................................9 1.1 Pirandello’s Aesthetic and Contemporary Theories of Time ..............................................9 1.2 Chapter 2: Six Characters in Search of an Author: Putting Theory into Practice ...........10 1.3 Chapter 3: Temporality and the Life/Form Dichotomy in Henry IV ................................16 1.4 Chapter 4: Tonight We Improvise and the Limits of Representation ................................19 1.5 Chapter 5: Conclusion.......................................................................................................21 A Note of Clarification: Selected Editions and Translations of the Texts ...............................22 Chapter 1 Pirandello’s Aesthetic and Contemporary Theories of Time ................................24 Pirandello in Context: Politics and Art in Transition ...............................................................24 1.1 Italy after Unification .........................................................................................................24 1.2 The Italian Artistic Tradition .............................................................................................25 1.3 International Influences: German and Czech Theatre; Russian Formalism .....................30 Pirandello in Search of His Theatre: Statements on Language, Drama, and Identity ..............33 2.1 Early Aesthetic Statements and Short Essays on Drama and Theatre ...............................33 2.2 Pirandellian Humor ............................................................................................................37 Contemporary Theories of Time, Temporality, and Being; Methodological Frameworks ......38 3.1 Bergson on Duration and Memory ....................................................................................39 vii 3.2 Husserl on Intentionality and Internal Time Consciousness ..............................................39 3.3 Heidegger: Time as the Ontological Foundation of Being ................................................41 3.4 Einstein’s Relativity ...........................................................................................................42 3.5 The Aesthetic Consequences of Quantum Theory: Multiple Worlds ................................43 From Words to Action: Towards Six Characters .....................................................................44 Chapter 2 Putting Theory into Practice in Six Characters in Search of an Author ...............46 A Note on the Text and its Translation .....................................................................................47 The Promise and Problem of Metatheatre .................................................................................49 2.1 The Failure of Metatheatre and the Necessity of Humor ...................................................51 Six Characters and the Problem of Embodiment ......................................................................55 Six Characters, Continuity, and Internal Time Consciousness.................................................62 The Ontological Status of Character; Heidegger on Time, History and Art .............................71 Six Characters and Relativity ...................................................................................................88 More Thoughts on Metatheatre ...............................................................................................101 Moving Forward .....................................................................................................................102 Chapter 3 Temporality and the Life/Form Dichotomy in Henry IV .....................................104 Some Remarks about this Selection ........................................................................................105 Bergson’s Comic and Pirandello’s Humor .............................................................................110 2.1 Perception, Memory and the Body in Henry IV ..............................................................114 On Continuity in Henry IV ......................................................................................................126
Load more

Recommended publications
  • Directions in Contemporary Literature CONTENTS to the Reader Ix PHILO M
    Directions in Contemporary Literature CONTENTS To The Reader ix PHILO M. JR. BUCK 1. Introduction Fear 3 2. The Sacrifice for Beauty George Santayana 15 Professor of Comparative Literature, University of Wisconsin 3. A Return to Nature Gerhart Hauptmann 37 4. The Eternal Adolescent André Gide 59 OXFORD UNIVERSITY PRESS · New York 5. Futility in Masquerade Luigi Pirandello 79 6. The Waters Under the Earth Marcel Proust 101 (iii) 7. The New Tragedy Eugene O'Neill 125 8. The Conscience of India Rabindranath Tagore (vii) 149 COPYRIGHT 1942 BY OXFORD UNIVERSITY PRESS, 9. Sight to the Blind Aldous Huxley 169 NEW YORK, INC. 10. Go to the Ant Jules Romains 193 PRINTED IN THE UNITED STATES OF AMERICA 11. The Idol of the Tribe Mein Kampf 219 12. The Marxian Formula Mikhail Sholokhov 239 (iv) 13. Faith of Our Fathers T. S. Eliot 261 14. The Promise and Blessing Thomas Mann 291 ACKNOWLEDGMENTS A WORD must be said of appreciation to those who have aided me in this study. I would name 15. Till Hope Creates Conclusion 315 them, but they are too numerous. There are those who are associated with me in my academic A Suggested Bibliography 337 interests, and those who in one place or another have watched the genesis of the ideas that have Index (viii) 349 gone into these chapters. I must also acknowledge the aid I have received from the current translations of some of the authors, especially Mann and Proust and Sholokhov. In most of the other places the translations are my own. A word about the titles of foreign books: when the English titles are well known I have used them without giving the originals.
    [Show full text]
  • Women As Hidden Authoritarian Figures in Luigi Pirandello's Literary
    The Paradox of Identity: Women as Hidden Authoritarian Figures in Luigi Pirandello’s Literary Works Thesis Prospectus by MLA Program Primary Reader: Dr. Susan Willis Secondary Reader: Dr. Mike Winkelman Auburn University at Montgomery 1 December 2010 The Paradox of Identity: 1 Women as Hidden Authoritarian Figures in Luigi Pirandello’s Literary Works On June 28, 1867 in Sicily, Italian author and playwright Luigi Pirandello was born in a town called Caos, translated chaos, during a cholera epidemic. Pirandello’s life was marked by chaos, turmoil, and disease. He literally entered into a world of chaos. Dictated to by a tyrannical father and cared for by a meek mother, Pirandello developed an interesting view of marriage, women, and love. The passivity of his mother and eventual paranoia and insanity of his wife, Antoinette Potulano, created a premise for his literary women. As he formulated and evolved his impressions of the feminine identity from what he witnessed between his parents and experienced with his wife, the “Master of Futurism” examined the flaws of interpersonal communication between genders. He translated those experiences into his literature by depicting institutions such as marriage negatively in his early works and later shifting the bulk of his focus to gender oppositions. Pirandello explores the conundrum between men and women by placing his female characters into paradoxical roles. This thesis challenges previous criticism that maintains Pirandello’s women are “dismembered,” weak, and deconstructed characters and instead concludes that, although Pirandello’s literary women are mutable figures and his literature contains patriarchal elements, a matriarchal society dominates Pirandello’s literature.
    [Show full text]
  • The Theory of the Modern Stage
    The Theory of the Modern Stage AN INTRODUCTION TO MODERN THEATRE AND DRAMA EDITED BY ERIC BENTLEY PENGUIN BOOKS Contents Preface by Eric Bentley 9 Acknowledgements 17 PART ONE TEN MAKERS OF MODERN THEATRE ADOLPHE APPIA The Ideas of Adolphe Appia Lee Simonson 27 ANTONIN ARTAUD The Theatre of Cruelty, First and Second Manifestos Antonin Artaud, translated by Mary Caroline Richards 55 Obsessed by Theatre Paul Goodman 76 BERTOLT BRECHT The Street Scene Bertolt Brecht, translated by John Willett 85 On Experimental Theatre Bertolt Brecht, translated by John Willett 97 Helene Weigel: On a Great German Actress and Weigel's Descent into Fame Bertolt Brecht, translated by John Berger and Anna Bostock 105 E. GORDON CRAIG The Art of the Theatre, The First Dialogue E. Gordon Craig 113 A New Art of the Stage Arthur Symans 138 LUIGI PIRANDELLO Spoken Action Luigi Pirandello, translated by Fabrizio Melano 153 Eleanora Duse Luigi Pirandello 158 BERNARD SHAW A Dramatic Realist to His Critics Bernard Shaw 175 Appendix to The Quintessence of Ibsenism Bernard Shaw 197 KONSTANTIN STANISLAVSKY Stanislavsky David Magarshack 219 Emotional Memory Eric Bentley 275 CONTENTS RICHARD WAGNER The Ideas of Richard Wagner Arthur Symons 283 W. B. YEATS A People's Theatre W. B. Yeats 327 A Theory of the Stage Arthur Symons 339 EMILE ZOLA From Naturalism in the Theatre, Emile Zola, translated by Albert Bermel 351 To Begin Otto Brahm, translated by Lee Baxandall 373 PART TWO TOWARDS A HISTORICAL OVER-VIEW GEORG BRANDES Inaugural Lecture, 1871 Georg Brandts, translated by Evert Sprinchorn 383 ARNOLD HAUSER The Origins of Domestic Drama Arnold Hauser, translated in collaboration with the author by Stanley Godman 403 GEORGE LUKACS The Sociology of Modern Drama George Lukdcs, translated by Lee Baxandall 435 ROMAIN ROLLAND From TTie People's Theatre, Romain Rolland, translated by Barrett H.
    [Show full text]
  • The Pirandello Society of America BOARD of DIRECTORS Jana O
    The Pirandello Society of America BOARD OF DIRECTORS Jana O’Keefe Bazzoni Stefano Boselli Janice Capuana Samantha Costanzo Burrier Mimi Gisolfi D’Aponte John Louis DiGaetani Mario Fratti Jane House Michael Subialka Kurt Taroff (Europe) Susan Tenneriello HONORARY BOARD Stefano Albertini Eric Bentley Robert Brustein Marvin Carlson Enzo Lauretta Maristella Lorch John Martello PSA The Journal of the Pirandello Society of America Susan Tenneriello, Senior Editor Michael Subialka, Editor Samantha Costanzo Burrier and Lisa Sarti, Assistant Editors Lisa Tagliaferri, Managing Editor EDITORIAL BOARD Angela Belli Daniela Bini John DiGaetani Antonio Illiano Umberto Mariani Olga Ragusa John Welle Stefano Boselli, Webmaster PSA The official publication of the Pirandello Society of America Subscriptions: Annual calendar year subscriptions/dues: $35 individual; $50 libraries; $15 students with copy of current ID. International memberships, add $10. Please see Membership form in this issue, or online: www.pirandellosocietyofamerica.org Make all checks payable to: The Pirandello Society of America/PSA c/o Casa Italiana Zerilli-Marimò 24 West 12th Street New York, NY 10011 All correspondence may be sent to the above address. Submissions: All manuscripts will be screened in a peer-review process by at least two readers. Submit with a separate cover sheet giving the author’s name and contact information. Omit self-identifying information in the body of the text and all headers and footers. Guidelines: Please use the current MLA Style Manual; use in-text references, minimal endnotes, works cited. Articles should generally be 10-20 pages in length; reviews, 2-3 pages. Please do not use automatic formatting. Send MSWord doc.
    [Show full text]
  • Teaching the Short Story: a Guide to Using Stories from Around the World. INSTITUTION National Council of Teachers of English, Urbana
    DOCUMENT RESUME ED 397 453 CS 215 435 AUTHOR Neumann, Bonnie H., Ed.; McDonnell, Helen M., Ed. TITLE Teaching the Short Story: A Guide to Using Stories from around the World. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-1947-6 PUB DATE 96 NOTE 311p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 19476: $15.95 members, $21.95 nonmembers). PUB 'TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Authors; Higher Education; High Schools; *Literary Criticism; Literary Devices; *Literature Appreciation; Multicultural Education; *Short Stories; *World Literature IDENTIFIERS *Comparative Literature; *Literature in Translation; Response to Literature ABSTRACT An innovative and practical resource for teachers looking to move beyond English and American works, this book explores 175 highly teachable short stories from nearly 50 countries, highlighting the work of recognized authors from practically every continent, authors such as Chinua Achebe, Anita Desai, Nadine Gordimer, Milan Kundera, Isak Dinesen, Octavio Paz, Jorge Amado, and Yukio Mishima. The stories in the book were selected and annotated by experienced teachers, and include information about the author, a synopsis of the story, and comparisons to frequently anthologized stories and readily available literary and artistic works. Also provided are six practical indexes, including those'that help teachers select short stories by title, country of origin, English-languag- source, comparison by themes, or comparison by literary devices. The final index, the cross-reference index, summarizes all the comparative material cited within the book,with the titles of annotated books appearing in capital letters.
    [Show full text]
  • Writing for the Theatre by Jane House Pirandello Was Over
    Pirandello’s Youthful Passion: Writing for the Theatre by Jane House Pirandello was over 40 and had already achieved fame as a novelist with The Outcast (L’Esclusa, 1901) and The Late Mattia Pascal (Il fu Mattia Pascal, 1904) when his first plays were produced in 1910,1 and he did not commit himself to playwriting until he was almost 50. However, the letters he wrote as a young man and two extant plays present incontrovertible evidence that he had the ambition to make his name as a playwright when he was a university student and a recent graduate, and that the young man had no compunction about submitting his plays to major figures in Italian theatre---Cesare Rossi, Ermete Zacconi, and Flavio Andò---in the expectation that they would be produced at important theatres in Rome. The two extant plays from this period, Why? (Perchè?) and The Epilogue (L’epilogo), published in 1892 and 1898 respectively, represent only a fragment of the plays that Pirandello wrote before he turned 30. The Epilogue would become The Vise (La morsa) which was published in Maschere nude. Why?, on the other hand, lay forgotten for almost a century. The one act was never produced during Pirandello’s lifetime; it was not part of his collected works; and William Murray did not include it in his comprehensive collection of Pirandello’s one-act plays. It was brought to the attention of Pirandello scholars in 1976 by Edoardo Villa (173–80) and was first published in English in 1995 (House and Attisani 417–423).
    [Show full text]
  • Premio Nobel Per La Letteratura
    Premio Nobel per la letteratura Bibliografia A cura della Biblioteca Cantonale di Bellinzona Novembre 2017 Il 5 ottobre 2017 Kazuo Ishiguro ha vinto il Premio Nobel per la letteratura. E’ stata l’occasione per scoprire o ri-scoprire questo importante scrittore inglese di origine giapponese. Ma quali sono gli scrittori premiati in questi anni? Dal 1901 ogni anno un autore viene onorato con questo significativo premio. Proponiamo con questa bibliografia le opere di scrittori vincitori del Premio Nobel, presenti nel fondo della Biblioteca cantonale di Bellinzona, e nel caso in cui la biblioteca non possedesse alcun titolo di un autore, le opere presenti nel catalogo del Sistema bibliotecario ticinese. Gli autori sono elencati cronologicamente decrescente a partire dall’anno in cui hanno vinto il premio. Per ogni autore è indicato il link che rinvia al catalogo del Sistema bibliotecario ticinese. 2017 Kazuo Ishiguro 2016 Bob Dylan 2015 Svjatlana Aleksievič 2014 Patrick Modiano 2013 Alice Munro 2012 Mo Yan 2011 Tomas Tranströmer 2010 Mario Vargas Llosa 2009 Herta Müller 2008 Jean-Marie Gustave Le Clézio 2007 Doris Lessing 2006 Orhan Pamuk 2005 Harold Pinter 2004 Elfriede Jelinek 2003 John Maxwell Coetzee 2002 Imre Kertész 2001 Vidiadhar Surajprasad Naipaul 2000 Gao Xingjian 1999 Günter Grass 1998 José Saramago 1997 Dario Fo 1996 Wisława Szymborska 1995 Séamus Heaney 1994 Kenzaburō Ōe 1993 Toni Morrison 1992 Derek Walcott 1991 Nadine Gordimer 1990 Octavio Paz 1989 Camilo José Cela 1988 Naguib Mahfouz 1987 Iosif Aleksandrovič Brodskij 1986 Wole
    [Show full text]
  • Calder Collectionorderform2021
    CALDER 70 YEARS OF EDGY PUBLISHING • A LEGENDARY LIST TO PLACE YOUR ORDER, PLEASE CONTACT: FOR SALES ENQUIRIES, PLEASE CONTACT: Macmillan Distribution Ltd (MDL) Cromwell Place, Hampshire International Business Park, Bloomsbury Publishing Plc, 50 Bedford Square, London WC1B 3DP Lime Tree Way, Basingstoke, Hampshire RG24 8YJ Tel: 0207 631 5600 or Fax: 0207 631 5800 Tel: 01256 302 692 or Fax: 01256 812 521 For more information about Calder Publications, please visit: www.calderpublications.com CALDER 70 YEARS OF EDGY PUBLISHING • A LEGENDARY LIST Name: .......................................................................................................................... Address: ....................................................................................................................... ..................................................................................................................................... Special Instructions: ........................................................................................................ ..................................................................................................................................... Order Ref:........................ .........Terms:.................... ......Rep:....................... ........Date:............................ TO PLACE YOUR ORDER, PLEASE CONTACT: FOR SALES ENQUIRIES, PLEASE CONTACT: Macmillan Distribution Ltd (MDL) Cromwell Place, Hampshire International Business Park, Bloomsbury Publishing Plc, 50 Bedford Square, London
    [Show full text]
  • Pirandello Proto-Modern: a New Reading of <I>L'esclusa</I>
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Pirandello Proto-Modern: A New Reading of L’Esclusa Bradford Masoni The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2330 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] PIRANDELLO PROTO-MODERN: A NEW READING OF L’ESCLUSA by Bradford A. Masoni A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirement for the degree of Doctor of Philosophy, The City University of New York. 2017 © 2017 BRADFORD A. MASONI All Rights Reserved ii Pirandello Proto-Modern: A New Reading of L’Esclusa by Bradford A. Masoni This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ____________________ ________________________________ Date Paolo Fasoli Chair of Examining Committee ____________________ _____________________________ Date Giancarlo Lombardi Executive Officer Supervisory Committee: Paolo Fasoli Giancarlo Lombardi William Coleman THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Pirandello Proto-Modern: A New Reading of L’Esclusa by Bradford A. Masoni Advisor: Paolo Fasoli Luigi Pirandello’s first novel, L’Esclusa, written in 1893, but not published in its definitive edition until 1927, straddles two literary worlds: that of the realistic style of the Italian veristi, and something new, a style and approach to narrative that anticipates the theory of writing Pirandello lays out in his long essay L’Umorismo, as well as the kinds of experimental writing that one associates with early-20th-century modernism in general, and with Pirandello’s later work in particular.
    [Show full text]
  • THE LIVING THEATRE & SYMBOLIC CAPITAL By
    OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL by Peter Wood BA, Rhode Island College, 2000 MA, University of Maryland, 2004 Submitted to the Graduate Faculty of Te Dietrich School of Arts & Sciences in partial fulfllment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE DIETRICH SCHOOL OF ARTS & SCIENCES Tis dissertation was presented by Peter Wood It was defended on March 3, 2016 and approved by Peter Karsten, Professor, History Lisa Jackson-Schebetta, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Michelle Granshaw, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Bruce McConachie, Professor Emeritus, Teatre Arts ii Copyright © by Peter Wood 2016 iii OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL Peter Wood, PhD University of Pittsburgh, 2016 Abstract: Overturning Mammon: Te Living Teatre and Symbolic Capital focuses on the frst thirteen years of the Living Teatre, founded by Judith Malina and Julian Beck. Pierre Bourdieu’s theories of cultural production provide the theoretical tools to approach the company as a cultural producer and not only as theatre artists. Te Living Teatre has produced largely unpopular avant-garde and political theatre for seventy years. I argue that the company’s early years demonstrate a growing reserve of symbolic capital that helps explain the company’s longevity. Furthermore, the manner in which certain events in the company’s history have been mythologized, by company members, critics, and scholars, has led to some historically inaccurate accounts. In particular, accounts of the closing of the company’s production of Te Brig in 1963 and the subsequent trial of Beck and Malina in 1964 have often been infuenced by an acceptance of company member’s anecdotal, “tall tales” approach to history rather than historical evidence and archival documents.
    [Show full text]
  • Six Characters in Search of an Author
    SIX CHARACTERS IN SEARCH OF AN AUTHOR BY LUIGI PIRANDELLO TRANSLATED BY EDWARD STORER DRAMATURGICAL ADAPTATION ON TRANSLATION BY DANIELE BARTOLINI & LUKE REECE IN COLLABORATION WITH THE CAST major sponsor & community access partner WELCOME TO SIX CHARACTERS IN SEARCH OF AN AUTHOR The artists and staff of Soulpepper and the Young Centre for the Performing Arts acknowledge the original caretakers and storytellers of this land – the Haudenosaunee Confederacy, and Wendat First Nation, and The Mississaugas of the Credit First Nation who are part of the Anishinaabe Nation. We commit to honouring and celebrating their past, present and future. “All around the world and throughout history, humans have acted out the stories that are significant to them, the stories that are central to their sense of who they are, the stories that have defined their communities, and shaped their societies. When we talk about classical theatre we want to explore what that means from the many perspectives of this city. This is a celebration of our global canon.” – Weyni Mengesha, Soulpepper’s Artistic Director photo by Emma Mcintyre Partners & Supporters James O’Sullivan & Lucie Valée Karrin Powys-Lybbe & Chris von Boetticher Sylvia Soyka Kathleen & Bill Troost 2 CAST & CREATIVE TEAM Cast Beatriz Pizano Moya O’Connell Tom Rooney The Mother Leading Lady Leading Man Diego Matamoros Gregory Prest The Manager The Prompter, Stage Manager, The Son Hannah Miller Anand Rajaram The Stepdaughter The Father Creative Team Daniele Bartolini Gregory Sinclair Mimi Warshaw Director
    [Show full text]
  • Pirandello : Six Characters in Search of an Author
    Strictly for Private Use Course Material Department of English and Modern European Languages M.A. SEMESTER IV S M Mirza Paper-XIV(C) : Comparative Literature Unit IV : Drama Aristophanes : The Frogs Shudrak : Mrichchakatikam (The Clay Cart) Moliere : The Miser Luigi Pirandello : Six Characters in Search of an Author Dear Students, Hello. Only the text highlighted above remains to be taught in UNIT IV. I’m providing you course material below for Luigi Pirandello: Six Characters in Search of an Author so that you can understand it and prepare your answers for the exam. Prepare the following: critical appreciation, themes, technique, innovations, and significance of the title (short question). I’ll send you course material on Unit I soon. In case you have any doubts you can contact me on phone or send queries to my email. All the best! Luigi Pirandello: Six Characters in Search of an Author Biographical note Luigi Pirandello(1867-1936) was born in Girgenti, Sicily. He studied philology at Rome and at Bonn and wrote a dissertation on the dialect of his native town (1891). From 1897 to 1922 he was professor of aesthetics and stylistics at the Real Istituto di Magistere Femminile at Rome. Pirandello’s work is impressive by its sheer volume. He wrote a great number of novellas which were collected under the title Novelle per un anno (15 vols., 1922-37). Of his six novels the best known are Il fu Mattia Pascal (1904) [The Late Mattia Pascal], I vecchi e i giovani (1913) [The Old and the Young], Si gira (1916) | [Shoot!], and Uno, nessuno e centomila (1926) [One, None, and a Hundred thousand].
    [Show full text]