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Journal articles on the topic 'Pirandello'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 November 2024

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1

Bibikova, Alexandra. "«THE MOUNTAIN GIANTS» BY LUIGI PIRANDELLO IN RUSSIA: TRANSLATORS’ READINGS AND THEATRICAL RECEPTION." RZ-Literaturovedenie, no. 1 (2021): 79–89. http://dx.doi.org/10.31249/lit/2021.01.07.

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The article briefly discusses the history of the creation and staging of the last unfinished play by Luigi Pirandello «Mountain Giants» (1936) in Italy. The main focus is on staging and interpretation of Pirandelloʼs play in Russia, namely on the E. Kamenkovich and P. Agureeva 2014 production at the Moscow Theater «Workshop of Pyotr Fomenko», for which a new translation of the play into Russian was prepared. The comparative analysis of the text of Pirandello's play in Italian and the video record of the performance at the «Peter Fomenkoʼs Workshop» was carried out, which aim is to identify peculiarities of this Russian translation and changes made by the producers while staging the Pirandelloʼs play for the Russian-speaking audience, as well as to understand how the directors overcome the problem of the missing ending.

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2

Woźniak, Katarzyna. "Pirandello jako widz zawodowy." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 126–34. http://dx.doi.org/10.24917/20811853.17.11.

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Pirandello as professional spectatorAbstractLuigio Pirandello’s drama were unfailingly popular with Polish directors between the beginningof the 1960s until the 1970s. Native creators have undertaken dramas from differentperiods of the Nobelist’s output and covering various topics – bourgeois comedy to metatheatricalworks. Most probably those do not include all that were staged then.It appears that an increased interest in the author is to be connected with the 25th anniversaryof his death, as is suggested by Mieczysław Brahmer in the 1961 Tak jest, jak się państwu zdaje(directed by Zofia Wiercińska).The fact that both then and now critics and researchers in the majority of cases assumed, notnecessarily consciously, they are writing about an artist that is mainly a writer and only thena critic of stage productions of his dramas and a stage producer for his own texts is significant.As a consequence they focused mainly on deconstructing the “pirandellism” condemned byBrahmer, in particular on its canonical interpretation by Adrian Tilgher. Therefore, the followingquestion comes to mind: what kind of interpretations are possible when Pirandello’sworks (especially the first part of the so-called trilogy of “theatre in a theatre” which consistsof Six Characters in Search of an Author, Each In His Own Way and Tonight We Improvise) areconsidered from the perspective of purpose, that is individual theatrical activity of Pirandelloas a co-founder, principal and stage producer of Teatro D’Arte in Rome (in operation between1924 and 1928). The present article attempts at showing the possible direction of a search foran answer to said question with the starting point being the 1962 production of Sześć postaciscenicznych w poszukiwaniu autora (Six Characters in Search of an Author) directed by MariaWiercińska in Stefan Jaracz Theatre in Łódź.Keywords: Pirandello in Poland, Maria Wiercińska, first theatre directors in Italy

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3

Andreev, M. L. "Pirandello: a theory and practice of «humorism»." Voprosy literatury, no. 2 (June 17, 2021): 203–20. http://dx.doi.org/10.31425/0042-8795-2021-2-203-220.

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What defines the special character of Pirandello's works is the fact that he creates his own literary movement, which draws on the duality of theoretical and practical aspects. His own practice led Pirandello to the creation of a theory (‘humorism') that declares analytical dismantling of reality to be the ultimate goal of literature in order to depict the world as a series of illusions devoid of a unifying central idea. Guided by this postulate, Pirandello was close to deconstruction of the tools he used, namely the novel and the play. His reimagining of the novel was less radical: the revision of this form remained incomplete. His reforms of playwriting principles were more advanced, as Pirandello problematised and rejected traditional oppositions — primarily, the opposition of art to reality. In The Mountain Giants [I giganti della montagna], his final and unfinished play, Pirandello attempted to create a myth about art as a medium between the material and the ideal, but, confined to the rules of ‘humorism', he remained trapped by this contradiction.

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4

Koman, Aleksandra. "Ofelia Pirandella: rozważania nad kobiecym szaleństwem." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 150–58. http://dx.doi.org/10.24917/20811853.17.13.

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Ophelia of Pirandello: reflections around female madnessAbstractThe article is devoted to an analysis of Luigi Pirandello’s drama As You Desire Me which drawsinspiration from an actual event connected with questions on the identity of a person sufferingfrom amnesia. Unlike the real incident, the main character of Pirandello’s is a woman knownonly by her alias Stranger, as the main theme of the drama is establishing her true identity. Thepresent article aims at proving that Pirandello’s drama is not a criminal mystery, but rathera deep reflection on the notion of human personality which in the case of a woman receivesnew, interesting meanings. One of them is spotting the correspondence between Pirandelli’sStranger and Shakespeare’s Ophelia, as madness of both characters appears to have similarroots: female’s insanity seen through the prism of both dramas appears as defiance againstthe culture of patriarchy, but also stems from the conviction of one’s own emptiness andundefinedness. In this context, referring to studies on feminist criticism (E. Shawalter,K. Kłosińska, K. Woźniak), including studies on female hysteria is of relevance. Even thoughthe structure of drama appears to lead to a finale in which the truth about the character isuncovered, Pirandello does not reveal her true identity. However, questions on female identityand female madness are worth reflecting upon, even if they remain unanswered.Keywords: Luigi Pirandello, As you desire me, impersonality, Ophelia, tarantism, Jean-MartinCharcot, Aleksandra Mianowska, female madness, female identity, Elaine Showalter, feministliterary criticism

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5

Pearson, Tony. "Evreinov and Pirandello: Two Theatricalists in Search of The Chief Thing." Theatre Research International 17, no. 1 (1992): 26–38. http://dx.doi.org/10.1017/s0307883300015583.

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The name Evreinov appears in the footnotes to a number of monographs on the better known Pirandello. Indeed, the artistic parallels between these two contemporaries have been frequently, if superficially, recognized in separate studies of both. I have sought elsewhere to develop the framework for a comparative analysis, focusing upon a common instinct for ‘theatricality’ and a snared obsession for putting theory into practice. This second and concluding study examines in closer detail the aesthetic and philosophical affinities between Evreinov and Pirandello in the context of their ‘theatre-in-thetheatre’ trilogies; it begins by identifying the formal properties of Evreinov's plays and goes on to consider the parallels and convergences with Pirandello's ideas.

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6

Vanagaitė, Gitana. "Luigi Pirandello’s Works in Lithuania: Why the Dialogue Did Not Take Place." Interlitteraria 21, no. 2 (January 18, 2017): 216. http://dx.doi.org/10.12697/il.2016.21.2.5.

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Luigi Pirandello (1867–1936) was an Italian modernist writer and playwright who enriched literature with questions of modern identity as it relates to the contradiction between human consciousness and reality. Pirandello pondered questions of art and reality, mask and essence, life and form, and the fragmentation of a personality. In his works, he also foresaw what would later constitute the base of existential philosophy.The reception of Pirandello’s works in Lithuania has been limited, in part because of the small number of his works translated into Lithuanian – only a dozen short stories, two plays, and a novel.The first more or less systematic and thorough introduction to the play wright and his works took place in 1934, when the Italian writer was awarded the Nobel Prize in Literature for his “bold and brilliant renovation of the drama and the stage.” A few articles on Pirandello’s creative principles appeared in the Lithuanian press. A Lithuanian poet, Kazys Binkis, translated the beginning of Pirandello’s play, Sei personaggi in cerca d’autore (Six Characters in Search of an Author, 1921), and a writer, Kostas Korsakas, edited a book consisting of five novels, Pirmoji naktis (‘First Night’). A Lithuanian translation of his novel, Il fu Mattia Pascal (The Late Mattia Pascal, 1904), and two plays, Sei personaggi in cerca d’autore and Enrico IV (Henry IV, 1922), came out during the Soviet period.All translations were accompanied by a foreword containing basic biographical details about and introducing Pirandello’s cultural, literary and creative life. Although Pirandello gets attention in Lithuanian university textbooks, no academic paper about him or his works has been published yet. There have been no translations of Pirandello’s theoretical texts, his thoughts on the cultural situation, literature, and man at the beginning of the 20th century, i.e., a volume of essays Arte e Scienza (Art and Science) written in 1908 or an important long essay, L’umorismo (On Humor), in which author also examines the principles of his own art. On the other hand, the literary reception of Pirandello’s works has been supplemented by theater performances. Five plays of his were mounted and the play, Henry IV, was twice produced on Lithuanian theater stage.The article examines why Pirandello’s artistic ideas, which reached Lithuania during the second decade of the 20th century, remained on the periphery and failed to influence the literary canon. Keywords: Luigi

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7

Bassnett, Susan. "Pirandello's Debut as Director: the Opening of the Teatro d' Arte." New Theatre Quarterly 3, no. 12 (November 1987): 349–51. http://dx.doi.org/10.1017/s0266464x00002487.

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In this, the centenary year of Pirandello's birth, there has been a revival, hopefully more than just circumstantial, of interest in his work in the English-speaking theatre – which has previously tended to acknowledge his influence without often producing his plays. But Pirandello's own theatrical ambitions, which came quite late in his creative life, were initially as a director – indeed, the association with Mussolini which has sometimes cast a pall upon his reputation was largely in the interests of obtaining state patronage for his Teatro d' Arte company, which struggled unsuccessfully for survival between 1925 and 1928. Initially, however, hopes were high, and the inaugural productions both artistically and technically exciting. In the following feature. Susan Bassnett, a Pirandello specialist who teaches in the Graduate School of Comparative Literature in the University of Warwick and is a regular contributor to NTQ, describes the circumstances behind the opening of the company, while Alessandro Tinterri, of the Actors' Museum of Genoa, analyzes the curious encounter in the first major production. The Gods of the Mountain, between Pirandello as director and the now little-remembered Irish cricketer-dramatist. Lord Dunsany.

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8

La Rosa, Gabriele. "Pirandello a Breslavia / Pirandello in Wrocław." Italica Wratislaviensia 1, no. 5 (April 26, 2015): 235. http://dx.doi.org/10.15804/iw.2014.05.10.

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9

Nazneen Zahra, Dr Behzad Anwar, and Shamshad Rasool. "Disappearance of the Author: A Foucauldian Study of Luigi Pirandello’s Six Characters in Search of an Author." Journal of English Language, Literature and Education 5, no. 2 (June 15, 2023): 17–32. http://dx.doi.org/10.54692/jelle.2023.0502175.

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Pirandello's Six Characters in Search of an Author was an innovative juncture in theatre with its avant-garde dramatic devices. Pirandello has presented the idea of the relation between the author and his creation and highlighted the disappearance of the subject in the narrative. The present study employs Foucault's idea of the author function in the play to explore the effort of the characters to present their narrative while the author has disappeared. The unexpected entry of six self-conscious characters illustrates and emphasizes the creative process and the continuity of the artistic works. The study finds that Pirandello has skillfully handled the theatricality resulting in a novel perspective of the theatre and shed light on the freedom of the characters that symbolizes the text, and drafted their story as they like. It, further, pinpoints their quest and success in mastering authority over their discourse in the absence of their creator.

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10

Alessio (book author), Antonio, and Franco Zangrilli (review author). "Pirandello pittore." Quaderni d'italianistica 6, no. 2 (October 1, 1985): 281–82. http://dx.doi.org/10.33137/q.i..v6i2.11083.

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11

Lepschy, A. L., and Harold Bloom. "Luigi Pirandello." Modern Language Review 86, no. 1 (January 1991): 224. http://dx.doi.org/10.2307/3732156.

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12

Silva, Valmir Luis. "Luigi Pirandello." Tabuleiro de Letras 15, no. 1 (July 1, 2021): 44–54. http://dx.doi.org/10.35499/tl.v15i1.10366.

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Um dos pontos mais importantes da crítica e da teoria feita por Luigi Pirandello é o conceito de humorismo. Em seu ensaio L’umorismo (1908), Pirandello nos dá a base de sua escrita e aponta que a questão fundamental do humorista centra-se no sentimento do contrário. Neste trabalho, analisamos com profundidade textos poéticos de Pirandello, a fim de perceber a especificidade da obra de arte humorística e relacioná-la ao conceito de existencialismo, principalmente aquele seguido por Jean Paul Sartre. Concluímos afirmando que o humorismo é tanto uma teoria de crítica literária quanto uma espécie de teoria da vida, por valorizar as ações humanas que fogem ao enquadramento harmonioso que a arte em geral pinta, mas que inexistem, de fato, na praxis da vida.

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13

Longman, Stanley V., Susan Basnett-McGuire, and A. Richard Sogliuzzo. "Luigi Pirandello." Theatre Journal 37, no. 3 (October 1985): 392. http://dx.doi.org/10.2307/3206877.

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14

Grimm, Reinhold, and Johannes Thomas. "Pirandello-Studien. Akten des I. Paderborner Pirandello-Symposiums." Italica 62, no. 1 (1985): 79. http://dx.doi.org/10.2307/478685.

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15

Bronowski, Cezary. "Il caso-Sicilia nel romanzo storico-sociale I vecchi e i giovani di Luigi Pirandello." Studia Romanica Posnaniensia 49, no. 3 (December 5, 2022): 63–74. http://dx.doi.org/10.14746/strop.2022.493.005.

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The author’s intention is to present the “Sicily case” in Luigi Pirandello’s socio-historical novel The Old and the Young (1913). The article explores the concept of the so-called “Sicily case” in Pirandello, which has not only its own environmental and literary specificity, but also social-political context. It is closely linked to the terrifying image of Sicilian nature that corresponds to the topical motif of the locus amoenus and its complete reversal, seen in the mirror distorted by the political and social climate of the country at the time. The “Sicily case” in Pirandello’s novel becomes a propeller of human consciousness, indeed the writer with several environmental references, the writer indeed highlights the affinities.

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16

Kucharuk, Sylwia. "Polska krytyka wobec dramatów Pirandella / Polish reception of dramas by Pirandello." Italica Wratislaviensia 1, no. 3 (April 26, 2012): 107. http://dx.doi.org/10.15804/iw.2012.03.06.

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17

Boselli, Stefano. "The Short Play and Postmodernist Stage Directing: A Virtual Experiment with Pirandello’s Cecè." Quaderni d'italianistica 32, no. 2 (April 9, 2012): 159–82. http://dx.doi.org/10.33137/q.i..v32i2.16313.

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The one-act play Cecè (1913) by Luigi Pirandello belongs to the playwright’s early production and has been rightly praised for its perfect comic mechanism. Yet, it has heretofore attracted little attention in the academic world. Despite containing one of the first instances of the author’s approach to the instability of self, one of the reasons why its depth appears limited, resides in its brevity when compared to Pirandello’s major works. However, its very economy may allow a director to be experimental and offer multiple versions and perspectives to the audience in a single evening, showcasing a variety of critical theories.

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18

Lazer, Taras, and Olesia Lazer-Pankiv. "THE COMIC ASPECT OF THE TRADITIONS CONCEPT IN LUIGI PIRANDELLO'S NOVELS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 33 (2023): 86–92. http://dx.doi.org/10.17721/1728-2659.2023.33.14.

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The article contains the results of the analysis of the specific features for representing the comic aspect of the TRADITIONS concept in the novels "L’Esclusa", "Il Turno", "Il Fu Mattia Pascal", "Suo Marito" by Luigi Pirandello. The basis for understanding how the author comprehended the comic within the TRADITIONS concept lays in his original interpretation of the categories of humour and comic which he elaborated under the influence of H. Bergson’s and G. Simmel’s theories. The thoughts of a literary critic A. Tilgher also had a great impact on L. Pirandello’s creative evolution and worldview, specifically on the writer’s approach to the category of comic. Moreover, the article deals with the ethnic specificity (all-Italian, and Sicilian in particular) as one of the main factors that determined the author’s works. L. Pirandello shows ironic and satyric attitude towards the Sicilian society which is mainly noticeable in the descriptions of the characters inflicted by a conservative worldview. The comic side of the TRADITIONS concept is represented (predominantly in a metaphorical way) in a dichotomy of the closed static social system and the spiritual freedom merged with true deep feelings of an individual. The microconcepts FAMILY and SOCIETY were defined and analyzed within the TRADITIONS concepts. The important qualities of FAMILY and SOCIETY are their static, mechanic, cycle nature, and social determination which the author unifies under a common idea of degrading. One of the main components in the TRADITIONS concept comic representation structure are the generalized characters used for creating the conflict "group VS individual". The TRADITIONS concept represents for L. Pirandello a deformed reality which he verbalizes with the age, religion, invective markings towards conservative characters and their society. The comic side of the TRADITIONS concept is realized through an ironic counterpositioning of a conservative and contemporary worldview.

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19

Providenti (book author), Elio, and Antonio Alessio (review author). "Colloqui con Pirandello." Quaderni d'italianistica 27, no. 2 (June 1, 2006): 171–73. http://dx.doi.org/10.33137/q.i..v27i2.8622.

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20

Zangrilli (book author), Franco, and Antonio Alessio (review author). "Pirandello nell'America latina." Quaderni d'italianistica 21, no. 2 (June 1, 2000): 143–45. http://dx.doi.org/10.33137/q.i..v21i2.9398.

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21

Somigli, Luca. "Pirandello 150: Introduction." Quaderni d'italianistica 39, no. 2 (November 6, 2019): 5–6. http://dx.doi.org/10.33137/q.i..v39i2.33256.

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22

Gioanola (book author), Elio, and Franco Zangrilli (review author). "Pirandello, la follia." Quaderni d'italianistica 7, no. 1 (April 1, 1986): 138–40. http://dx.doi.org/10.33137/q.i..v7i1.11024.

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23

Antonetti (book author), Renata Marsili, and Antonio Alessio (review author). "Luigi Pirandello intimo." Quaderni d'italianistica 19, no. 2 (October 1, 1998): 156–58. http://dx.doi.org/10.33137/q.i..v19i2.9470.

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24

Iannace, Gaetano A., and Maria Luisa Aguirre D'Amico. "Vivere con Pirandello." World Literature Today 65, no. 1 (1991): 99. http://dx.doi.org/10.2307/40146178.

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25

Bouchard, Norma, and Francois Orsini. "Pirandello e l'Europa." Italica 79, no. 3 (2002): 427. http://dx.doi.org/10.2307/3656113.

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26

Licastro, Emanuele. "Book Review: Pirandello." Forum Italicum: A Journal of Italian Studies 43, no. 1 (March 2009): 315–16. http://dx.doi.org/10.1177/001458580904300128.

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27

Onofri, Massimo. "Sciascia e Pirandello." Remate de Males 25, no. 1 (November 8, 2012): 65–82. http://dx.doi.org/10.20396/remate.v25i1.8636113.

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28

Bussino, Giovanni R., Nina daVinci Nichols, and Jana O'Keefe Bazzoni. "Pirandello and Film." Italica 74, no. 1 (1997): 111. http://dx.doi.org/10.2307/479785.

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29

Ragusa, Olga, and Fiora A. Bassanese. "Understanding Luigi Pirandello." Italica 76, no. 1 (1999): 108. http://dx.doi.org/10.2307/479809.

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30

Andrade, Oswald De. "Anunciação de Pirandello." Sala Preta 17, no. 2 (December 26, 2017): 181. http://dx.doi.org/10.11606/issn.2238-3867.v17i2p181-185.

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Texto publicado originalmente no Correio Paulistano – Sexta-feira, 29 de junho de 1923, p. 3. Encontra-se na primeira coluna à esquerda da página, em disposição similar à quase encostada coluna “Crônica Social”, que Menotti Del Picchia assinava sob o pseudônimo HELIOS. Nesse mesmo dia, na página anterior, a coluna “Teatro” já anunciava que “a nossa capital vai ter em breve uma temporada de alta sensação: referimo-nos à vinda, em julho próximo, da Companhia Dramática Italiana do Teatro ‘Argentina’, de Roma, que vem dar uma série de espetáculos em S. Paulo. A Companhia do Teatro ‘Argentina’, de Roma, é dirigida pelo eminente teatrólogo italiano Dario Nicodemi, fazendo parte de seu elenco, entre outros elementos, a atriz Vera Vergani, hoje considerada como uma das figuras de destaque na península. Esse conjunto deverá estrear, em 14 de julho próximo, no Teatro Municipal” (Correio Paulistano, 29 de junho de 1923, p. 2). Na página 8, última, dedicada a anúncios variados, lado a lado, dois destes importam para a questão: à esquerda anuncia-se, no Teatro Municipal, a estreia da Companhia Dramática Italiana, dirigida por Dario Nicodemi, em 14 de julho, com “repertório exclusivamente italiano”. À direita, anuncia-se para o dia seguinte, 30 de junho, a estreia em São Paulo, no Teatro Sant’Anna, da Companhia Maria Melato com La Gioconda.

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31

Holanda, Sérgio Buarque de. "Conversando com Pirandello." Sala Preta 17, no. 2 (December 26, 2017): 186. http://dx.doi.org/10.11606/issn.2238-3867.v17i2p186-191.

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Entrevista com Luigi Pirandello conduzida por Sérgio Buarque de Holanda e publicada originalmente n’O Jornal (RJ), 11 de setembro de 1927, p. 3 (extraído de: O Estado de S. Paulo, 31 de dezembro de 1988, p. 2).

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32

Ribeiro, Martha. "Pirandello e o teatro: para uma gênese dos Seis personagens à procura de um autor." Manuscrítica: Revista de Crítica Genética, no. 22 (June 30, 2012): 60–92. http://dx.doi.org/10.11606/issn.2596-2477.i22p60-92.

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Neste artigo problematizamos aobra Seis personagens à procura de um autor, de Luigi Pirandello, à luz de sua gênese.Examinando o percurso criativo do autor,desde sua juventude até seus últimos anosde vida, observa-se como esta obraacompanha esse percurso, sempre emconsonância tanto com a vida quanto com opensamento artístico de seu autor. SeisPersonagens é uma obra que atravessa a viacriativa de Pirandello, ela está presente emtodas as diferentes fases do artista, pois énela que o fantasma obsessivo do incestopode emergir sob a forma de condenação aoteatro. A obra, como veremos, é o ponto departida de Pirandello e seu eterno (edoloroso) retorno.

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33

Baužytė, Galina. "L. Pirandelo dramų filosofinės ir estetinės problemos." Problemos 11 (September 29, 2014): 42–50. http://dx.doi.org/10.15388/problemos.1973.11.5506.

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Italų dramaturgas, novelistas ir romanistas L. Pirandello paliečia svarbias filosofines ir psichologines problemas, kurios buvo svarstomos reliatyvistų, agnostikų ir egzistencialistų teorijose. Jis polemizavo su natūralistais ir pozityvistais suformuluodamas savitą asmenybės koncepciją, kurioje didžiausias dėmesys skiriamas sąmonės ir pasąmonės gyvenimui. Savo ankstyvosiose dramose („Taip yra“ 1918, „Gyvenimas, kurį aš tau duodu“, 1924) L. Pirandello plėtojo reliatyvistinę teoriją apie objektyviosios tiesos nepažinumą, apie subjektyvius gyvenimo vaizdinius. Tokiu būdu iškyla L. Pirandello dramaturgijos svarbiausias konfliktas tarp realybės ir iliuzijos, kuris ryškiausiai išreiškiamas dramoje „Henrikas IV“ (1922). Dramose „Šeši personažai ieško autoriaus“ (1921) ir „Šiandieną mes improvizuojame“ (1929) autorius sprendžia gyvenimo ir meno santykio problemą, iškelia meninės tikrovės autonomijos idėją.

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34

Chirinos, Karin. "José Carlos Mariátegui lector de Luigi Pirandello." Talía. Revista de estudios teatrales 6 (July 24, 2024): 49–57. http://dx.doi.org/10.5209/tret.94989.

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Durante su estancia en Italia (1919-1923) el escritor, político y filósofo peruano José Carlos Mariátegui conoció a muchos representantes de los movimientos modernos de vanguardia. Sin embargo fue el dramaturgo siciliano Luigi Pirandello quien llamó su atención al punto de ocuparse de él en dos escritos: El caso Pirandello (Variedades, marzo de 1926) y en El ‘freudismo’ en la literatura contemporánea (Variedades, agosto de 1926). El amauta que participó en el célebre Congreso de Liorna (Livorno) en 1921 en el que el ala izquierda del socialismo fundó el partido comunista italiano, conversó varias veces con Pirandello, como recordó durante una entrevista Anna Chiappe, viuda de Mariátegui (Caretas, 1969). El «arte de una decadencia, arte de una disolución; pero arte vigoroso y original el de Pirandello[…]La traducción artística más fiel y más potente del drama del “alma desencantada»(Mariátegui, 1926), fue el arte que más debatió y estudió el Amauta al punto de llegar a afirmar que el dramaturgo siciliano habría anticipado al futurista Filippo Marinetti «este escritor sexagenario y siciliano resulta, en verdad, mucho más moderno que el explosivo y futurista Marinetti y toda su escuela» (Mariátegui, 1926). A partir del análisis de los escritos sobre Pirandello realizados por Mariátegui intentaré explorar las huellas del pensamiento del siciliano en las obras del escritor, filósofo y político peruano.

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35

Zangrilli (author, first book), Franco, Antonio Iliano (author, second book), Paolo Di Sacco (author, third book), and Antonio Alessio (review author). "L'arte novellistica di Pirandello; Metapsichica e letteratura in Pirandello; L'epopea del personaggio-Uno studio sul teatro di Pirandello." Quaderni d'italianistica 6, no. 1 (April 1, 1985): 164–66. http://dx.doi.org/10.33137/q.i..v6i1.11105.

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36

Lezza, Antonia. "Viviani and the others: Scarpetta, Pirandello, and Eduardo and Peppino De Filippo." Forum Italicum: A Journal of Italian Studies 48, no. 3 (September 4, 2014): 562–82. http://dx.doi.org/10.1177/0014585814542778.

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This article reconstructs Raffaele Viviani’s ties with some of the greatest representatives of 19th and 20th century Italian theater, dwelling in particular on his relationships with Scarpetta, Pirandello, and Eduardo and Peppino De Filippo. The tools for such an investigation are letters and theatrical reviews. In order to highlight Viviani’s relationship with the theatrical scene of his time and with the preceding dramaturgical tradition, the article illustrates Viviani’s close relationship with Luigi Pirandello. In the space of a 20-year period, Viviani performed and transposed into the Neapolitan dialect three of Pirandello’s plays: La patente (1924), Pensaci, Giacomino! (1933), and Bellavita (1943). The analysis of this relationship dwells not only on the novel and effective linguistic operation carried out by Viviani compared with the original texts (in the case of transpositions/rewritings), but also draws attention to the system of characters in Viviani’s theater that have a Pirandellian origin, such as Don Mario Augurio (from the play by the same name) and Giovanni Scardino ( Fuori l’autore). Moreover, the article examines Viviani’s interest in Eduardo Scarpetta; in 1940, Viviani staged Scarpetta’s indisputable masterpiece, Miseria e nobiltà. Finally, the article considers Viviani’s relationship with Eduardo and Peppino De Filippo. The unusual relationship Viviani had with Eduardo De Filippo, a kind of ‘relationship/non-relationship’ that had its basis in the different poetic choices of the two men, is analysed.

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Melcer-Padon, Nourit. "From Xáos to Kaos." Incontri. Rivista europea di studi italiani 37, no. 1 (June 27, 2023): 1–13. http://dx.doi.org/10.18352/inc8868.

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Il saggio discute diversi aspetti relativi alla trasposizione cinematografica di sei novelle di Luigi Pirandello nel film Kaos dei fratelli Taviani. La rilevanza dell’argomento emerge dalle posizioni di Pirandello nei confronti del mezzo cinematografico, da costui considerato particolarmente adatto a conferire una forma alla propria filosofia artistica. L’arte, racchiusa in una forma permanente e immutabile, è l’unico modo eterno di esistenza, al contrario di quello temporaneo in cui devono vivere i soli mortali. Di conseguenza, Pirandello sostiene che i personaggi immaginari siano più vivi dei loro modelli in carne ed ossa. Il cinema, e in particolare la produzione dei Taviani, è quindi un mezzo particolarmente pertinente da considerare. Si discutono alcune modalità, dispositivi e leitmotiv con cui le trasposizioni cinematografiche rappresentano elementi essenziali dei racconti pirandelliani, tra cui la storia stratificata della Sicilia (dall’antica conquista greca all’attuazione dell’unificazione italiana), e il senso lunare del tempo, il cui andamento ciclico sembra poter essere sovvertito soltanto da una rivoluzione che sconvolga l’ordine sociale. Pur rifiutando di dare una raffigurazione manichea della società, nella rappresentazione delle problematiche sociali siciliane sia Pirandello che i fratelli Taviani chiamano il pubblico ad accorgersi della necessità di un cambiamento.

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Salsano (book author), Roberto, and Giuseppe Faustini (review author). "Pirandello in chiave esistenzialista." Quaderni d'italianistica 38, no. 2 (February 4, 2019): 212–14. http://dx.doi.org/10.33137/q.i..v38i2.32241.

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Zangrilli (book author), Franco, and Michela Meschini (review author). "Il bestiario di Pirandello." Quaderni d'italianistica 26, no. 2 (June 1, 2005): 128–30. http://dx.doi.org/10.33137/q.i..v26i2.9004.

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Alessio (book editor), Antonio, Giuliana Sanguinetti Katz (book editor), and Angela Amella (review author). "Le Fonti di Pirandello." Quaderni d'italianistica 18, no. 1 (April 1, 1997): 135–37. http://dx.doi.org/10.33137/q.i..v18i1.10042.

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Schachter, Elizabeth, Gian-Paolo Biasin, and Manuela Gieri. "Luigi Pirandello. Contemporary Perspectives." Modern Language Review 96, no. 2 (April 2001): 539. http://dx.doi.org/10.2307/3737434.

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Bussino, Giovanni R., and Franco Zangrilli. "Il bestiario di Pirandello." Italica 79, no. 4 (2002): 565. http://dx.doi.org/10.2307/3656064.

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Bussino, Giovanni R., and Franco Zangrilli. "L'arte novellistica di Pirandello." Italica 62, no. 1 (1985): 83. http://dx.doi.org/10.2307/478687.

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Singh, G., and Graziella Corsinovi. "Pirandello: tradizione e trasgressione." Italica 62, no. 3 (1985): 265. http://dx.doi.org/10.2307/479035.

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Pagano, Tullio, Gian-Paolo Biasin, and Manuela Gieri. "Luigi Pirandello: Contemporary Perspectives." Italica 77, no. 3 (2000): 428. http://dx.doi.org/10.2307/480312.

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Bini, Daniela. "Michelstaedter, Pirandello and Folly." Italian Culture 8, no. 1 (January 1990): 363–76. http://dx.doi.org/10.1179/itc.1990.8.1.363.

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Quilian de Vargas, Andrea. "AS MANIFESTAÇÕES DO MAL EM O SOPRO, O FILHO TROCADO E MAL DA LUA, DE LUIGI PIRANDELLO." Miscelânea: Revista de Literatura e Vida Social 23 (September 12, 2018): 195–214. http://dx.doi.org/10.5016/msc.v23i0.1166.

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Luigi Pirandello produziu dezenas de narrativas curtas que se inserem em um gênero que teve seu auge no final do século XIX: a literatura fantástica. Este texto se justifica pela necessidade de uma nova abordagem sobre as novelas de Pirandello, com o intuito de mostrar de que forma o mal se faz presente em três de seus contos fantásticos: O sopro, O filho trocado e Mal da lua.

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Manola, Maria. "Pirandello and Scaribas – The “Paradox” in Their Work." Open Journal for Studies in Linguistics 5, no. 2 (November 25, 2022): 45–50. http://dx.doi.org/10.32591/coas.ojsl.0502.02045m.

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In this particular article, a parallel reading of the heroes in Pirandello and Scaribas is done and then the interest is focused on the presentation of the “paradox” in their writing. Pirandello and Scaribas use “paradox”, the contradiction in common sense, as a vehicle to engage and activate those who read their works not only in a simple reading of their literature but also in realizing a psychoanalytic inner journey.

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Boselli, Stefano. "Pirandello's Theatre of Living Masks: New Translations of Six Major Playsby Luigi Pirandello." Translation Review 84, no. 1 (November 2012): 58–61. http://dx.doi.org/10.1080/07374836.2012.730337.

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Sgroi, Alfredo. "Redenzione e perdizione tra Manzoni e Pirandello." Italogramma, no. 19 (May 25, 2021): 1–15. http://dx.doi.org/10.58849/italog.2021.sgr.

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In this essay, a parallel reading of the works of Manzoni and Pirandello is carried out, placing the theme of redemption at the center of attention. The two writers, the first Catholic, the second nihilist and skeptical, start from the common observation that theworld of men is dominated by evil. Thus it was born the need for a confrontation with the divine. In the Promessi Sposi, in Lazzaro, in many short stories, Manzoni and Pirandello describe the path of redemption that can transform the life of men.

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