Luigi Pirandello, Six Characters in Search of an Author
Luigi Pirandello, Six Characters in Search of an Author
Theatre Interior by Peter Lewicki
Introduction
With Six Characters we can see the evolution of art from 19th century realism, to a 20th century experimentalism with formal elements of art. In the same way that visual artists move from representing “reality as it appears” to experimenting with representing how the light hits the water, how shapes comprise form, how color and light affect perspective and so on, dramatic and literary artists are experimenting with the traditional components of drama: linear plot, characters, the “fourth wall,” the illusion of reality. (Nineteenth century realism featured realism that made the audience feel as if the “fourth wall” had been removed from the room affording them a window into the events happening onstage.) These are the elements of traditional drama, and these elements Pirandello places right onstage as part of the drama itself.
Observe this piece entitled “Work” by English painter Ford Madox Brown (1852-63). In its depiction of realistic subjects, its attention to detail and its focus on class (the piece idealizes the working class a bit in its depiction of them as noble). Compare how Ford Madox Brown uses the traditional conventions of painting, light, shadow, symbolism, to the work of early 20th century painters pasted below.
The difference in visual art helps us to better identify the shift in literature. These artists are foregrounding the elements on their media, calling attention to the tools they use to make art. Pirandello is very overt about the fact that he is using these components, the way Mondrian is overt about how he is using only primary colors and elemental shapes.
ACT I
I’ve included an audio of Act 1 in case you prefer to listen to the play than to read it.
Listen to Act 1 from librivox.org
The spectators will find the curtain raised and the stage as it usually is during the day time. It will be half dark, and empty, so that from the beginning the public may have the impression of an impromptu performance. Prompter’s box and a small table and chair for the manager.
Two other small tables and several chairs scattered about as during rehearsals.
The ACTORS and ACTRESSES of the company enter from the back of the stage: first one, then another, then two together; nine or ten in all. They are about to rehearse a Pirandello play: Mixing it Up. [Il giuoco delle parti.] Some of the company move off towards their dressing rooms. The PROMPTER who has the “book” under his arm, is waiting for the manager in order to begin the rehearsal.
The ACTORS and ACTRESSES, some standing, some sitting, chat and smoke. One perhaps reads a paper; another cons his part.
Finally, the MANAGER enters and goes to the table prepared for him. His SECRETARY brings him his mail, through which he glances. The PROMPTER takes his seat, turns on a light, and opens the “book.”
The Manager [throwing a letter down on the table]. I can’t see [To PROPERTY MAN.] Let’s have