* 2007 script.vtheatre.net/215 *
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-- Fellini 8.5 [ notes ]
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* Pirandello notes in script.vtheatre.net

... First performed in Rome in May 1921, "Six Players in Search of an Author" initially caused riots in the audience, but soon was recognized as a masterpiece. The story begins with a director about to start a rehearsal with a company of actors when the stage is invaded by six people who announce that they are characters - fully-formed characters - from an unwritten play. They demand that the company stop its rehearsal and act out their story instead, which is full of bitterness, passion and accusation. In this 'play within a play', Pirandalo mocks the world of naturalistic drama, as we explore the complex relationship between art and life; anticipating the theatre of Brecht, Beckett and Ionesco.

[ From the Publisher ] This CBC Audio was produced in association with The Shaw Festival with full cast, sound effects and original music at the Canadian Broadcasting Corporation. The translation is by Domenico Pietropaolo. [ amazon ]

2006-2007

2007 : theatre blog *

... Doll House * Ms. Julie : distance and change -- why?

... [ The issue of a mask on the face is extended here to include anyone performing in a play. The actors, or the "dramatis personae", literally mean the masks in the play. This will set up one of the conflicts, namely the fact that the characters do not have masks, and in that sense are more real than the actors who try to portray them later. ] *

[ It turns the play into a form of meta-theater, in which the audience is incorporated into the play and where the characters contemplate on the nature of theater. ]

[ The silence of children is a wonderful dramatic effect. Their silence is necessary because they are already dead, as we find out when the father informs the manager that they both die in the final scene. ] new chronotope = subjective time... and space?

conflicts -- list

Act 2

... There are therefore two realities: one consisting of the actors and their props, and one comprised of the characters.

[ What is TRUTH ? ]

Act 3 :

Pirandello deals here with the immutability of reality for the characters. There is a conflict of life versus form, where the characters are forms. These forms imprison them into the action they were imagined for, and it is involuntary for them to be what they are. Thus the son tries to escape his form, but cannot leave the stage. This contrasts with Pirandello's previous work, Henry IV, where Henry at least can choose to remain in his role. Here the Mother and Son struggle against their forms, but are unable to leave and must play their parts.
This final moment of drama is primarily an attempt to disintegrate the stage reality. The sense of illusion with respect to reality is challenged, and the manager and his actors are left unsure whether what they witnessed really happened or whether it was all acting. Of course, both interpretations are accurate, because for the characters it was real whereas for the actors it is a scene that can be played again. Pirandello is saying that the tradition of reality in the theater is false.

... and Brecht [ Theatre ] ?!


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6 Characters

1925

http://www.eldritchpress.org/lp/six.htm script online

Preface by Pirandello :

"IT SEEMS like yesterday but is actually many years ago that a nimble little maidservant entered the service of my art. However, she always comes fresh to the job.

She is called Fantasy." ... [ "Pirandello Pages" ? script.vtheatre.net/215/4/1.html : "Between Chekhov and Brecht" ]

[ westerncanon.com/bookforums -- !!! ]

 


  


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Six Authours in Search of Characters [ 20th century drama, THR215 ] Chekhov, Pirandello, Brecht, Williams, Beckett, Stoppard

PLAYS album hyperlinked

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http://www.brightlightsfilm.com/26/fellini1.html -- Fellini and Pirandello [ especially, 8.5 ]

http://www.amrep.org/past/characters/version.html :

When Pirandello first introduced his disturbing sextet of troubled characters onto the European stage, he can hardly have imagined that 1921 would forever mark a point of no return in Western dramaturgy. For Pirandello invented a self-conscious dissociative technique that would come to be called il teatro dello specchio, or "the mirror theatre." In this newly perfected instrument, Pirandello devised a way to present the illusionary world of the theatre's fictions -- those strange figments of our imaginations we call "characters" -- in suspended animation face to face with the real-life, flesh-and-blood actors, directors, and stage managers whose profession it is to "portray" characters in the theatre. In conventional dramaturgy we do not bother to differentiate the conceptual mirror images of "actor" and "acted," and before Pirandello, it was certainly not expected that a fundamentally philosophical problem such as this one would be the principal subject of an evening in the theatre. Put another way, before Pirandello no one suspected that ontological speculation could be made to be entertaining and vigorously engaging for theatre audiences.

META-THEATRE :

... In this modern classic from Nobel Prize-winner Pirandello, tragic soap opera and comic meta-theatre collide, and the boundaries between performance and existence are lost. One way or another, the story must be told.

... The paradox is that meta-theatre, at its very best, also has mass appeal. And Noises Off [ and other exaples ]

http://epress.anu.edu.au/apem/customary/mobile_devices/ch05.html ?

"Life is a Dream" [ ... ]

Historical background for Theatre Revolution:

WWI and After

New physics [ qm, Eistein's theories ]

New existentialism [ Classicism vs. Romanticism -- old struggle ]

New FORMS [ formalism, structuralism -- see chronology ]

...

from Meta-Theatre to Epic Theatre

pix.txt -- script.vtheatre.net/doc