Dissertations / Theses on the topic 'Pirandello, Luigi (1867-1936) – Esthétique'
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Cucugliato, Giacomo. "Percorsi teosofici nell’opera narrativa del primo Pirandello (1886-1909)." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL074.
Full textThe early interest of Pirandello in theosophical doctrine has been repeatedly highlighted by Pirandello criticism. Indeed, it is an interest that leaves clear traces, especially in the early part of the author's narrative production, where passages of theosophical origin are translated and cited on several occasions. The proposed work attempts to analyse the impact of theosophical doctrine on the formation of Luigi Pirandello's imagination, from the years 1886 to 1909, considering Pirandello's resumption of theosophical passages as symptomatic of a broader theoretical reuse by the author, in which even the exact reprisals are reconsidered to fully understand their relevance and value. The work therefore proceeds by examining the matrices of Pirandello's aesthetic reflection, particularly those of Luigi Capuana and Gabriel Séailles, to find them not necessarily satisfying for a comprehensive understanding of the intellectual humus in which Pirandello's theoretical construction germinates: the discovery of an unpublished source, cited in L'umorismo, La poétique de Schiller (1902) by Victor Basch, seems instead to provide sufficient stimuli to understand how the Pirandellian concept of «beyond» is organized together with the many conceptual factors contributing to the author's aesthetic formulation. Based on the romantic source found through Basch, Pirandello seems to have developed an aesthetic system in which the romantic concept of self assumes a central place: this revaluation of the role of the self in Pirandello's artistic practice and reflection seems to provide the basis for understanding the author's reuse of theosophical theoretical positions.As essentially explained in the second chapter, the author's self seems to position itself, for Pirandello, as a demiurgic self-capable of engulfing the external world and ennobling it by making it pass through the artist's consciousness: the artist is framed as one who, having undergone a «bitter experience of life», is able to detach himself from illusions and access a true dimension of being, a dimension in which he, for the first time, «sees himself living». The work of «reflection» seems to coincide with what the theosophists, particularly Franz Hartmann, call the product of self-awareness. On the basis of these assumptions, the analysis of Pirandello's metaphysical novellas develops - as explained in the third chapter. The novellas under examination have not yet been widely discussed by critics, but they all seem to be more or less colluded with theosophical semantics and have a deep metaliterary quality. All the texts cited seem to represent one or more particular aspects of the artistic creation process, or to stage phenomena or theoretical arguments drawn from the theosophical literature: often both occur simultaneously, so that the plot of the individual text seems to rise at the same time as a symbol and as assumptions of a metaliterary and metaphysical nature. The last part of the work addresses the study, in theosophical-aesthetic terms, of the first edition of Il fu Mattia Pascal (1904), seeking to integrate into a general aesthetic-theosophical interpretation the significant passages in which Pirandello, within the novel, directly or indirectly cites the theosophical doctrine
Bertin, Marjorie. "Le pirandellisme dans le théâtre de Jean Genet. Poétique et esthétique." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030156/document.
Full textThis thesis highlights and analyzes the Pirandellian themes in Jean Genet's plays. It proposes a redefinition of Pirandellism, which was the subject of much controversy from the time of its first definition, of philosophical inspiration, by the Italian critic Adriano Tilgher, in 1923. The new definition put forward here is based on five main characteristics: dualism between life and form; Pirandellian humourism; the supremacy of the art work over life; the impossibility of being a unified self; and metatheatricality. This new dramaturgical modelling of Pirandellism serves to analyze Pirandello's metatheatrical plays and all of Genet's theatre, with a view to understanding the historicity of the texts, that is, their anchorage – and sometimes absence thereof – in relation to their contexts of production and the relationships they weave between them. One of the theoretical frames of reference taken to analyze the influence of Pirandello's dramatic art and aesthetics on Genet's theatre is historical and precisely relevant to the history of theatre and scenic forms in 20th century Italy and France. This work is closely linked to the question of the author and of influence. Apart from Pirandellism, the deconstruction of realism, the giving up of psychological or gestural imitation and of the effects of illusion, the spatial framing of a new fictional world, and the abundance of varied texts and forms of stage direction that outline and recommend staging with meticulous precision are all characteristics common to these two authors
Dfouni, Ralph. "Les hommes ne pleurent pas, et Illuminations : de Pirandello vers Kaos." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0022/MQ50511.pdf.
Full textBudor, Dominique. "Les raisons de l'ecriture : analyse de l'oeuvre romanesque de luigi pirandello." Paris 3, 1987. http://www.theses.fr/1987PA030144.
Full textRich in significance as far as the story of the subject of writing is concerned and replete with the ideological effects entailed by the emergence of each text within the general text, the prose work of luigi pirandello is characterized by a combinatory system which places the process of signification beyond the configurations of the utterances and within enunciation itself. Novel after novel, the phatic tension becomes more strongly marked : the writing unveils its main function which is that of staging the identity problem, while the reader, prisoner of the text, becomes the indispensable and submissive partner of the writer who tries to reach an unlimited semiosis through a dialogue with himself. The writing, though, comes up against the various forms of spectacle (theatre and cinema) which, at the turn of the century, make of the work of art a marketable product and reveal the inadequacies of the written work in those modified conditions of emission and especially reception. Literature can only recover its power through making of the word a tool of revenge and of the theatre an opportunity for the imaginary to stage itself. Lastly, pirandello's writing, actuated by the urges of compensation and release, also reflects the wrenching conflicts of experience. Procedures of indirection reveal more than they hide the impossible harmony between the erotic tension which drives towards the other and the fervour of writing which makes of the ego its own object of desire : the actress alone, in so far as she becomes the "body" of the writing, remedies this splitting of the ego and founds the power of the poet. Refusing both the trauma of birth and the pain of being a man, pirandello thus comes into being as a writer
Dfouni, Ralph. "Les hommes ne pleurent pas, et, Illuminations : de Pirandello vers Kaos." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21208.
Full textIlluminations: From Pirandello toward Kaos ( criticism). When the filmmakers the brothers Taviani decide to undertake their adaptation of Luigi Pirandello's four short stories for the screen, they choose Kaos for the title of their film. Through the study of two of the four adapted short stories, this thesis tries to demonstrate that the adaptation of a literary work or a written text to a filmic text necessarily passes through a chaos that separates the two very different languages. The interpretative work consists of passing through this same chaos using different writing and mise en scene techniques. The aim of this short study is to dissect the links that exist between the two very distinct entities, the written text and the filmic text, through a magisterial and concrete example.
Mastrogianakos, John. "The role-within-the-role : two Pirandellian novellas and their dramatic adaptation." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68118.
Full textSince all Pirandellian characters role-play, and as a consequence portray and assume multiple identities, this thesis examines the function and significance of this technique in both narrative and theatrical contexts. It attempts to show that while the device is a feature common to all three works, it is in the dramatic adaptation that role-playing in relation to identity acquires its more visible and effective treatment.
Olive-Lalanne, Annie. "La condition féminine dans l'œuvre narrative et théâtrale de Luigi Pirandello." Paris 4, 1995. http://www.theses.fr/1995PA040238.
Full textFor the study of the condition and image of women in the work of Luigi Pirandello, an historical survey of the women's condition in Italy, and more precisely in Sicily, as well as a rapid study of the feminist movements in the early part of the XXth century, have seemed compulsory. A further analysis of how Pirandello introduced the female characters was made. An evolution of these characters emerged: the funest, destructive female progressively turns into a sublime woman, idealized in the maternity myth a typology of female characters in Pirandello’s narrative and theater works, has been made, regarding the influence which could have on them, the typically Mediterranean misogyny, jealousy, the often tragic misunderstanding between spouses, the harmful role played by the mother in law; the pathetic solitude of a sole woman, perhaps ugly or widowed. Finally a detailed survey, following the chronological order of appearance, of female characters in Pirandello’s theater pieces was made; first in the pieces written before 1925 : from the early successes to the apogeum of "Six personnages en quête d'auteur", and "Henry IV". And, in a second part, we have determined how had the encounter of the author with the actor Marta Abba deeply changed his conception of the female characters
Marotta, Antonella. "Pirandello nel teatro di Eduardo." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79793.
Full textVittori, Gérard. "Sujet, réel et signes dans l'oeuvre de Pirandello." Nice, 1990. http://www.theses.fr/1990NICE2006.
Full textTo know the truth, the human body is not a privileged point of knowledge, neither for the subject, nor for the others. On the contrary, the body is the point of the ambiguity of sense. Only will gives the authentic sense ; but the natural and the verbal signs give the subject to the distorsion of sense. God is for the others the guarantee of "adaquatio rei et intellectus". In fact, the authority, subsititute of true transcendence, establishes the transarentness of the language because it instaurates realty in the language. Reality is founded by the "text". This "text" alienates the subject, and removes him from his own truth. The name (with the story it brings), the actions, give the subject to the others. Th eone who wants to make truth appear is said to be mad. The return of the reality of the others, event if it is possible, has against itself the time, by which any expression of oneself is possible. The truth of the subject can express itself, without suffering the alienating "text" of the others in the fusional relation, the pattern of which is the relation to the mother. This type of relation can become an universal intersubjectiveness
Remington, Rachel. "Personal identity in the novels of Max Frisch and Luigi Pirandello." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30208.
Full textPeres, Terezinha Marta de Paula. "Luigi Pirandello: Tensões e Conflitos em um, Nenhum e Cem Mil." http://www.teses.ufc.br, 2011. http://www.repositorio.ufc.br/handle/riufc/3469.
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The present research, entitled Luigi Pirandello, the tensions and conflicts in Um, nenhum e cem mil (1926), aims at discussing how the Italian writer Luigi Pirandello (1867 -1936) took part in the social tensions of his time, how his geographic moves occurred, moves which imply in relating the author to the historic process of his time as well as his intellectual formation and how his search for a place in the intellectual world happened. For carrying on this investigation, we counted on the help of Pierre Bourdieu in his The rules of the art (1996) and Dominique Maingueneau in O contexto da obra literária (1991) in order to understand the circumstances in which Pirandello did his work. We also intend to investigate the author’s interactive relationship with the society of his time in what concerns the customs, beliefs, traditions and, above all, his interaction with the traditional literature, his position as a reader, how much he absorbed influences from it, and to what extent he interpreted and recreated them in his literary work. For a clearer view of the author’s relations to tradition, we will discuss the concepts of “influence” and “desreading” under the theoretical support of Harold Bloom in his Anguish of influence (1991) as well as Sandra Nitrini’s Compared Literature (2010). As a conclusion of this research, we analyze Pirandello’s position from his Um, nenhum e cem mil (1926), how he overcame his predecessors and how he elaborated a new work where a brand-new literary style is clearly viewed. For such analysis, we counted on the theoretical support of Roland Barthes’s Zero degree in whiting (1993) and Harold Bloom’s A map of desleitura (1995) and Arcangelo Leone de Castris’s Storia di Pirandello (1978), among others. We herein discussed the paths through which Pirandello wandered, using for such the analytical, descriptive, interpretative and comparative methods in the pursuit of a better understanding of his building process of a new poetry, which confers to Luigi Pirandello a different voice in the twentieth-century western literature.
Esta pesquisa, intitulada Luigi Pirandello: Tensões e Conflitos em Um, nenhum e cem mil (1926), pretende discutir como o escritor italiano Luigi Pirandello (1867-1936) participou das tensões sociais de sua época, como se deram seus deslocamentos geográficos, que implicam em relacionar o autor ao processo histórico de seu tempo; sua formação intelectual e como aconteceu sua trajetória em busca de uma posição como escritor dentro do “campo literário”. Para realizar esta investigação, contamos com o apoio teórico de Pierre Bourdieu, em As regras da arte (1996), e Dominique Maingueneau, em O contexto da obra literária (1991), com o propósito de compreender em que circunstâncias o autor compôs sua obra. Pretendemos também verificar as relações de interação do autor com a sociedade de seu tempo, no tocante aos costumes, às crenças, às tradições e, principalmente, às relações de interação com obras tradicionais, no intuito de averiguar suas experiências como leitor, a absorção que fez dessas leituras e de que maneira as interpretou e as recriou em sua arte literária. Para um melhor entendimento sobre o processo de compreensão do autor, em relação à tradição, discutiremos os conceitos de “influência” e “desleitura”, sob o apoio teórico de Harold Bloom, em A angústia da influência (1991), bem como de Sandra Nitrini, em Literatura Comparada (2010). Como conclusão da pesquisa, analisamos o posicionamento de Luigi Pirandello como romancista, a partir de Um, nenhum e cem mil (1926), como superou seus precursores e como elaborou uma nova obra, na qual se identifica um estilo novo de fazer Literatura. Para essa análise, contamos com o apoio teórico de Roland Barthes, em O grau zero da escritura (1993), de Harold Bloom, em Um mapa da desleitura (1995), de Arcangelo Leone de Castris, em Storia di Pirandello (1978), entre outros, com a intenção de discutir os caminhos do escritor, através dos métodos analítico, descritivo, interpretativo e comparativo, para uma melhor compreensão da construção de uma nova poética, a qual confere a Luigi Pirandello uma voz diferente na Literatura Ocidental, no século XX e entre seus leitores atuais.
Sarrinikolaou, Irene School of Media Film & Theatre UNSW. "The ontological status of Pirandello???s metacharacters: six characters in search of a Platonic author." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2006. http://handle.unsw.edu.au/1959.4/25974.
Full textVandelli, Ernesto. "Sartre e Pirandello." Université Stendhal (Grenoble), 2009. http://www.theses.fr/2009GRE39020.
Full textChiappero, Francine. "Recherche sur : la nature, cadre et miroir de la destinée humaine, dans les nouvelles de Luigi Pirandello." Nice, 1985. http://www.theses.fr/1985NICE2035.
Full textNature is a positive look in Pirandello's novels ; it's a less known subject too. The landscape of the novels is often open and sunny. It's different from the protagonists who are uncommunicative, oppressed by the mischance, a sicilian fatality, like the writer who says about it, he has writtent his life instead of living it. The landscape is an evasion for the protagonists and the author himself who feels a great ankering about it. He always remembers his Agrigente where he was born on June 28th of 1867. His novels are the proof of this nostalgia of the writer and his protagonists. So, Nature becomes the synonym of escape. More, the protagonists fight for life and the symbol of life is represented by the importance taken by the grass for them : la mano del malato povero, canta l'epistola, "Aeternam donaies domine". The first part of our research offers the different appearences of the landscape to the raeder, a weather sunnier than unhappy, because it's quite always quastion of sicilian sky in Pirandello's novels
Majri, Hanane. "Ordre et désordre dans l'oeuvre romanesque de Luigi Pirandello." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30053.
Full textThe research undertaken here is a study of Pirandello’s novels ; a study with the inextricable relationship between order and disorder as a main theme. Imprisoned in their form, Pirandello’s characters attempt to free themselves through an endless existential questioning which makes them aware of their limitations as beings, and their difficulties to communicate. Confronted to the eyes of “others”, they always appear with a mask on, which denies them any stable and clear-cut identity. As a consequence it is not surprising that each character is at once “one, nobody and a hundred thousand”. This explains Pirandello’s relativism and his theory of humour which aims at showing things in depth and in their abyssal complexity. Indeed, in Pirandello’s view, reality is multiple changing depending on the points of view; Moreover, it is often a series of chances which puts it to the test of chaos, which entails doubt, uncertainty and discomfort on the characters. That is why their quest of truth and authenticity will always be infinite, continually renewed between the will to escape and backwards looks to the past, their lives –whatever their forms – will be illusory- a fiction at the most
Ribeiro, Martha de Mello. "A dramaturgia do ultimo Pirandello : um teatro para Marta Abba." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269960.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta tese teve por objetivo analisar a dramaturgia dos últimos dez anos de vida de Luigi Pirandello (1926-1936), em especial os dramas escritos para a atriz Marta Abba, e atualizar o estado da pesquisa em Pirandello. O estudo partiu da constatação de que graças à atriz, as duas metades do imaginário feminino pirandelliano, a mãe santa e a prostituta, passam a conviver em uma mesma imagem de mulher, para chegar até a imagem da vamp virtuosa: uma criatura eroticamente fascinante, mas sexualmente inacessível. Percorrendo a argumentação crítica atual, constatou-se que a produção tardia do escritor é o resultado de um violento intercâmbio, de uma forte influência mútua entre estímulos biográficos e resultado artístico. Tendo isto em vista, buscou-se reconstruir, por meio da crônica e da crítica teatral da época, o estilo da performer Marta Abba, e sua definição como atriz pirandelliana. Tomando como base as propostas teóricas do assim denominado Teatro Novo, suas relações com o idealismo das primeiras vanguardas, e, principalmente, confrontando o epistolário Pirandello-Abba com a sua produção teatral, justifica-se a perspectiva autobiográfica presente no teatro de Pirandello do último período. Ao escrever para a atriz, o dramaturgo não poderia deixar de ter em mente a qualidade interpretativa de sua musa inspiradora, esta excepcional intérprete que foi a co-autora do novo perfil feminino desenvolvido pelo autor e, por outro lado, ao individualizar em Marta Abba as criaturas que ele já havia imaginado anteriormente, Pirandello se vê sob o signo de uma ¿predestinação¿: a atração física do Maestro por sua intérprete, ¿filha de sua arte¿, recupera um antigo fantasma, o tema tabu da escritura pirandelliana: o ¿fascínio paterno¿, incestuoso. Pirandello constrói assim um personagem feminino plural e ambíguo, em consonância com os maiores ícones do cinema dos anos trinta, Greta Garbo e Marlene Dietrich, capaz de absorver o estilo ¿camaleônico¿ e contraditório de interpretar de Marta Abba, ao mesmo tempo em que é capaz de traduzir e incorporar seu próprio tormento interior.
Abstract: This thesis presents an analysis of the plays of Luigi Pirandello in the final ten years of his life (1926-1936), especially the dramas written for actress Marta Abba, consistent with the state-of-art research on the playwright. Our starting point was the verification that, thanks to the actress, the two halves of Pirandellian feminine imagination - the holy mother and the prostitute ¿ came to cohabitate in the same female image, that of the virtuous vamp: an erotically enchanted creature, although sexually unattainable. Reviewing the current criticism, we verified that the writer's late production is the result of a violent interaction and mutual influence between biographic stimulus and artistic concerns.On this basis, we reconstruct, via the chronicle and theatrical criticism of the period, the performer Marta Abba's style and her definition as the Pirandellian actress par excellence. Having as foundation the theoretical propositions of the so-called New Theater, its relationships to the utopianism of the early avant-gardes, and opposing the correspondence between Pirandello and Abba with his own theatrical productions, we believe that the presence of anautobiographical perspective in the last period of Pirandello's theatre is justified. When writing for the actress, the playwright certainly had the interpretation of his inspiring muse in mind, the exceptionally talented Marta Abba as the co-author of the new feminine profile developed by the author. On the other hand, by individualizing in Marta Abba all the female creatures, the playwright sees himself under a sign of predestination: Marta's attractive power over the Master, "his art's daughter", recovers an old phantom, the taboo-theme of Pirandello writing: the incestuous, fatherly fascination. Thus, Pirandello creates an ambiguous feminine profile, related to the major movies icons of the '30s - Greta Garbo and Marlene Dietrich - pluralistic enough to assimilate theever-changing, contradictory style of the interpreter Marta Abba, translating and incorporating, at the same time, his own inner torment.
Doutorado
Literatura e Outras Produções Culturais
Doutor em Teoria e História Literária
Santos, Carlos Felipe da Silva dos [UNESP]. "Dois cisnes à procura de um personagem: uma leitura pirandelliana do filme Cisne Negro." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/123148.
Full textAstratto: Basato su Il lago dei cigni, da Piotr IIyich Tchaikovsky nel 1877, il lungometraggio Cigno nero (2010), sulla regia di Darren Aronofsky, è la combinazione di un drama psicologico con la drammaturgia che, allo stesso tempo, fanno parte della vita della protagonista. Il lago dei cigni, racconto scritto dal tedesco Johan Karl August Musäus nel secolo XVIII, aquista vita e potenza nel film componendo una struttura che mescola soggetività e stranezza, provocando molteplice sentieri nello spetattore. Al rispetto degli studi letterari, il film è poco esplorato giacché il suo fuoco maggiore si trova nella presenza psicoanalistica esistente. Così, allontanando parzialmente l’aspetto psicologico, rendiamo conto della presenza di tracce letterari che s’incastrano con pertinenza, construendo una tramma complessa tra le atmosfere della realtà e dello psicologico. Con la conoscenza della letteratura dello scrittore italiano Luigi Pirandello (1867-1936), così detto uno dei maggiori drammaturghi della letteratura mondiale, useremo le opere Sei personaggi in cerca d’autore (1921) e Così è (se vi pare) (1917) per dicutere i punti che seguono: 1) il personaggio della drammaturgia pirandelliana e cinematografica volgendosi alla protagonista Nina; 2) il teatro pirandelliano mettendo a fuoco il dramma moderno e il concetto di teatro nel teatro’ e come si trova nel film e 3) Cigno nero come tragedia moderna, utilizzando le teorie di Aristotele, Arnold Hauser, Raymond Wiliams e Pirandello per gli esempi. Nel campo teorico, ci baseremo anche in Antonio Candido, Peter Szondi, Sergei Einsenstein tra gli altri che costruiranno uno studio conciso e oggetivo del corpus proposto
Baseado em O lago dos cisnes, de Piotr Ilyich Tchaikovsky em 1877, o longa metragem Cisne negro (2010), dirigido por Darren Aronofsky, é a combinação de um drama psicológico com a dramaturgia que atuam reciprocamente na vida da protagonista. O lago dos cisnes, conto escrito pelo alemão Johan Karl August Musäus no século XVIII, ganha vida e potencialidade no filme em uma estrutura que mescla subjetividade e estranhamento, produzindo no espectador os mais variados sentimentos. No que concerne aos estudos literários, o filme é pouco explorado visto que seu maior foco versa sobre a presença psicanalítica à ele empregada. Desse modo, isolando parcialmente a carga psicológica, percebemos a presença de traços literários que se encaixam pertinentemente, construindo uma trama complexa entre os planos da realidade e do psicológico. Tendo como base a literatura do escritor italiano Luigi Pirandello (1867-1936), considerado um dos maiores dramaturgos da literatura mundial, usaremos as obras Seis personagens à procura de um autor (1921) e Assim é (se lhes parece) (1917) para discutir os seguintes pontos: 1) a personagem dramatúrgica pirandelliana e cinematográfica voltando-se para a protagonista Nina; 2) o teatro pirandelliano focado no drama moderno e no conceito de ‘teatro no teatro’ e como se dão no filme e 3) Cisne negro como tragédia moderna valendo-se de pressupostos teóricos de Aristóteles, Arnold Hauser, Raymond Williams e Luigi Pirandello para exemplificações. No campo teórico, nos apoiaremos também em Antonio Candido, Peter Szondi, Sergei Einsenstein entre outros para a construção de um estudo conciso e objetivo do corpus proposto
Frabetti, Anna. ""Le magicien italien " : Pirandello et le théâtre français dans les années vingt et trente." Paris 4, 2004. http://www.theses.fr/2004PA040159.
Full textAt the beginning of the 1920s, France discovered the theatre of Luigi Pirandello. His translator, Benjamin Crémieux, had taken on the task of promoting his work. Crémieux's critical readings of Pirandello would contribute decisively toward its acceptance. Equally important was the stage direction of Georges Pitoëff : his premiere of Six personnages en quête d'auteur in 1923 would open a new era of Italian theatre in France. For the Italian author, it was a juncture which would mark a turning point in his thinking with respect to the practice of theatre. If he had heretofore refused to recognize the artistic value of stage direction, it was due to his own experience as an author and to the backwardness of Italian theatre in this domain. His encounter with the realm of French theatre, and especially with Pitoëff, would help Pirandello to reconcile himself with the theories of stage direction and, in turn, to become director from 1925 to 1928 at the helm of his own Teatro d'Arte. Pirandello's fame in France soon faded: from 1924 on, Italy and France entered a difficult period in their political relations, not without adverse consequences for cultural exchange. After 1925, Pirandello's success in France would be replaced by a certain weariness, resulting from accusations of intellectualism fomented by the critics and press of the time. His theatre continued to be performed, but it would only be in 1934, after receiving the Nobel Prize, that Pirandello's early triumph would be renewed. The success of the performance of Ce soir on improvise (in the adaptation of Pirandello, Crémieux and Pitoëff), in 1935, marked the final stage of the playwright's French career
Nosella, Berilo Luigi Deiró. ""Um buraco no céu de papel": o moderno na dramaturgia de Luigi Pirandello." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/14801.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
This master degree main objective is the analysis and the study of the dramatical workmanship composition Six Personages in Search of an Author , witch is studied here as Seis Personagens em Busca de um Autor by Luigi Pirandello (1867-1936), staged for the first time in 1921, in Rome / Italy, reaching success in the entire world and deeply influencing the art of the teatral representation of the century XX. The objectives of the research send to analyze the modern elements gifts in the text Six Personages in Search of an Author and to the verification of the specific items on this modern pirandellian text in debate with modernity and contemporality. Basically, here, the analysis if guideline in the reflection on the existence of a tension between tradition and renewal, characteristic of the modernity in general way and specific way of the workmanship of Pirandello. It is treated, therefore, of formal examining the renewal as crisis of the tradition while factor of revelation and denudation as crisis of the modern world that is present like a mean form in the workmanship of Pirandello and in the Modern Drama . The literary analysis of the pirandellian text was based, initially, in the theoretical debate on the question of the literary sorts for the definition of the concept of Modern Drama . For this issue, this thought followed a line that begins with Hegel, goes to Georg Lukács and finishes with Peter Szondi. Advancing in this way, it was turned back to the proper theoretical texts of Pirandello, mainly O Humorismo , wrote in 1903, that involves the modernity of the drama and how it would be articulated, later, in an artistic form. A critical historical pillar helped to support the recital of this work that had as purpose understand and context this workmanship of Pirandello in its time and the present time. It was established, a parallel between two authors: the Italian, contemporary Pirandello, Antonio Gramsci and the german, Walter Benjamin. This debate in allowed in such a way to invest them in the analysis of the tension between form and content, renewing the art of drama of Pirandello culturally (as content) and the respective esthetic way (as form)
Trata, a presente dissertação, da análise e do estudo da obra dramática Seis Personagens em Busca de um Autor, de Luigi Pirandello (1867-1936), encenada pela primeira vez em 1921, em Roma, Itália, alcançando sucesso no mundo todo e influenciando profundamente a dramaturgia do século XX. Os objetivos da pesquisa remetem à analise dos elementos modernos presentes no texto Seis Personagens em Busca de um Autor e à verificação das especificidades desse moderno pirandelliano em debate com a modernidade e a contemporaneidade. Basicamente, aqui, a análise se pauta na reflexão sobre a existência de uma tensão entre tradição e renovação, característica da modernidade de modo geral e de modo específico da obra de Pirandello. Trata-se, portanto, de formalmente examinar a renovação como crise da tradição enquanto fator de revelação e desnudamento de uma crise do mundo moderno que se apresentaria como uma forma fundamental na obra de Pirandello e no Drama Moderno . A análise literária do texto pirandelliano alicerçou-se, inicialmente, no debate teórico sobre a questão dos gêneros literários para a definição do conceito de Drama Moderno . Para tanto, esse pensamento seguiu uma linha que parte de Hegel, passa por Gyorgy Lukács e se finaliza com Peter Szondi. Avançando neste caminho, voltou-se aos próprios textos teóricos de Pirandello, principalmente O Humorismo, escrito em 1903, que compreende a modernidade do drama e como se articularia, posteriormente, numa forma artística. Sustentou ainda a fundamentação deste trabalho um pilar crítico-histórico que teve como finalidade compreender e contextualizar a obra de Pirandello em seu tempo e na atualidade. Estabeleceu-se, assim, um paralelo entre dois autores: o italiano, contemporâneo a Pirandello, Antonio Gramsci e o alemão Walter Benjamin. Esse debate nos permitiu investir na análise da tensão entre forma e conteúdo, renovando a dramaturgia de Pirandello tanto culturalmente (como conteúdo) quanto esteticamente (como forma)
Piccione, Caterina. "Être un autre : l'idée de personnage dans l’oeuvre de Luigi Pirandello, de Carmelo Bene et du Teatro delle Albe." Thesis, Tours, 2019. http://www.theses.fr/2019TOUR2001.
Full textThe philosophy of character looks at the identity through the mirror of the alterity. Considering the history of the ideas of vision, presence, representation and mimesis, it is possible to describe the expenence as a theatre. The world’s theatre concerns, at the same time, the Dionysian “one”, complete ecstatic fusion, and the Apollonian “two”, consciousness of the representation.“Being someone else” is an expression that aims to resume the central role of characters in the subjectivity’s formation. Since it is a paradoxical mix of βίος and Ζωή’, the character contains several possible lives. Therefore, it is an important element in processes of subjectivation: it shows an idea of life which develops in a body, in a certain space and time, but which also expands in infinity.The ontological characterisation of character, in Pirandello’s theatre, is related to the reflexion on the character that everybody has to wear in the world’s theatre. Because life doesn’t coincide onty wil.h onc form of individuation, there’s always a rupture between the Self-perception and Others perception. The rupture can be solved, in pirandellian conception, when the subject abandons his own identity, in order to fuse with the nature. This perspective is radicalized in Carmelo Bene’s theatre: his processes of de-subjectivation are essentially an oblivion of the individuation. The Teatro delle Albe gets across the desert of subject and object opened by CB, inheriting bis work on the chasm of the voice. Nevertheless, in the company poetics, there is the possibility to think the subjectivity according to new borders and new desires
La filosofia del personaggio pensa l’identità attraverso lo specchio dell’alterità. Alla luce della storia delle idee di visione, presenza, rappresentazione e mimesi, si delinea una teatralità dell’esperienza al limite fra l’uno dionisiaco, totalità della fusione estatica, e il due apollineo, percezione della scissione rappresentata. “Essere un altro” è un’espressione che intende riassumere il ruolo centrale del teatro nella genesi della soggettività. Intreccio paradossale di βίος e ζωή, il personaggio è un ricettacolo di vite possibili e si rivela, perciò, una figura decisiva nei processi di soggettivazione. Esso racchiude un’idea di vita che si sviluppa in un corpo, in uno spazio e in un tempo, che sono, al contempo, puntuali ed infiniti
Rais, Nabila. "Représentation de la pensée politique italienne à la croisée du dix-neuvième et vingtième siècle : Lire "I Viceré" de De Roberto et "I vecchi e i giovani" de Pirandello à la lumière du "Prince" de Machiavel." Grenoble 3, 2007. http://www.theses.fr/2007GRE39012.
Full textThis thesis has for subject the representation of the Italian political through the reading of two novels situated between the 19th and 20th century. The Objective of our research is to read these historical novels in the light of a revolutionary political thought that of Nicola Machiavelli. Having tried to encircle the characteristics of the Florentine secretary, and so explain its revolutionary ideas and the specificity of its thought, this study continues with a double objective. The first one is the elaboration of an analytical approach of both novels : "I Viceré" Federico of De Roberto and "I vecchi e I giovani" o Luigi Pirandello, as well as a critical essay based on the consultation of the specificity and the narrative tendency of every author, to come finally to the detailed study of the various galleries of characters of both respective novels. Indeed, this thesis proposes a study of the characters which always sends us back to Macchiavelli's judgments and underlines the irrevocable presence of the spirit of this last one. The study becomes clearer by its comparative aspect, the main objective being to establish a correspondence between on one hand these two novels of the 19th and 20th century and on the other hand Machiavelli's political rules, mainly contained in his opuscule "The Prince". This second step clarifies the authenticity and the truthfulness of Machiavelli's theory in correlation with a certain Italian political reality which in spite of a constant evolution, remains subjected to the same and the eternal laws of the political arena such as Machiavelli perceives it
M'Bengué, Adama. "Construction du personnage et de l'indentité dans les romans de Pirandello et Svevo." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30063/document.
Full textThis work tries to make a connection between two literary “thoughts” of two major Italian writers of the 20th century whose similarities bring out the dissimilarities. It presents us with a precise subject; that of the novelistic character, his crisis and the soul searching he does. Then, this matter emphasizes one of the crucial issues of 20th century novel in European culture. This sort of character – excluded, having cut himself from reality – reveals the fragility of the agreement between human being and the world. Thus, the writers we study – Pirandello and Svevo – raise the question of the making and through it, that of the deconstruction of these “men of paper” who are the characters. Pirandello’s and Svevo’s character is not disclosed at once but is gradually structured in the novel. Nevertheless, their human adventure put them at risk, turning their identity uncertain, making their relationship with the world difficult or even unbearable. That results in a process of deconstruction and sometimes of destruction of which they become the victims. That’s why (apart from Pirandello’s femalecharacters) they take refuge in sickness, in madness, in delusion or even in the negation of reality
Buratti, Alessandro. "Conscience, facticité de l'être : altérité et aliénation : une étude sur les œuvres littéraires de Pirandello, Moravia et Sartre." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAL005/document.
Full textMy thesis concerns the links between the literary works of Pirandello, Moravia and Sartre. I analyze the formation of Pirandello in the 19th century and the evolution of his proposal around the role of consciousness, its characteristics and the relation with its own body and the world of objects and others. Madness appears to have a position of privilege in order to reach an authentic existence. Moravia took back Pirandello's theory in his books and he developed an internal life description on contemporary man in connection with his society. Sartre, who read Pirandello and was a Moravia's friend, developed the importance of different consciousness' states (such as boredom, nausea or indifference) that are at the origin of moral projects
Meda, Anna Rosa. "Teatro dei miti in Pirandello e D'Annunzio." Thesis, 1992. http://hdl.handle.net/10500/17426.
Full textD'Annunzio and Pirandello both as men and as artists can only be placed at the opposite ends of the cultural scene of their times. Yet, it is in myth that their antithetical works finally converge. This study, therefore, analyzes myth in three of D'Annunzio's tragedies where the mythical dimension is more apparent (The dead city, Iorio/s daughter and Fedra) and in the trilogy of myths by Pirandello, which brings his work to its ultimate expression. For both authors the need for myth is born of the painful awareness of modern man's crisis: relative values, a divided personality and no sense of direction. In the timeless and universal dimension of myth it is still possible to achieve totality. The Junghian theory of the archetypes of the collective unconscious, of which myths are cultural manifestations, has proved to be an analytical tool of great importance. By giving access to the deepest level of the texts beyond their cultural and historical layers, it brings to light the otherwise elusive meaning of archetypal images and motives, revealing the true nature of art to be not just the work of an individual but also of collective man. The works, different as they may be, when compared in this perspective have nevertheless yielded some important common conclusions, not only on D'Annunzio and Pirandello as writers but also on their role within the society they lived in and, by extension, our own. For both of them myth, even in a modern context, means essentially the overcoming of the fragmentation, the relativity and the mediocrity of contemporary life. However, in the process of recapturing this mythical dimension, myth itself is bound to be modified. Because it mirrors the modern psyche, it not only interprets its deepest present needs, but also points to its future ones. The central position occupied in their works by the subconscious, emerging from behind the powerful image of the primordial Great Mother, points the way to future psychological development and to the need to regain access to the deepest levels of the human psyche so that its opposing forces, subconscious and consciousness, can meet and be reconciled.
Classics & Modern European Languages
D. Litt. et Phil. (Italian)
Lopes, Maria Isabel Mendes. "Seis personagens em busca de autor, um exemplo do processo de reescrita em Pirandello." Master's thesis, 2009. http://hdl.handle.net/10451/1723.
Full textLaurin, Marie-Ève. "De chaînes en trames : histoire nationale et vie privée dans le roman naturaliste et vériste." Thèse, 2008. http://www.archipel.uqam.ca/1156/1/D1681.pdf.
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