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"Pascal, a landowner fallen on hard times and trapped in a
miserable marriage, runs away from home and wins a lot of money at
the gaming tables in Monte Carlo. Meanwhile a body has been found
in the millrace of his village and it is assumed that Pascal has
killed himself. Seizing what looks like a chance to create a new
life, he travels to Rome under an assumed name and struggles to
invent a different identity which he can inhabit. He fails, returns
home, finds his wife has remarried and has to act out the role of
being as it were a living ghost. All these tragic events are
recounted with verve and wit and comes across clearly in
Simborowski's spirited translation from the Italian."Robert Nye in
The Guardian
Luigi Pirandello's masterpiece, "Six Characters in Search of an
Author", presents the playwright's views about the isolation of the
individual from society and from himself. This play within a play
chronicles six characters as they seek an author to tell their
story, and to present their real lives on stage. But do their
realities make better tales than fiction?
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Six Characters in Search of an Author (1921) is a metatheatrical
drama by Luigi Pirandello. Viewed as an important work of absurdist
literature, the play was a critical failure when it was first
staged in Rome. Revised by its author and bolstered by successful
performances in New York City, Six Characters in Search of an
Author has been recognized as a pioneering examination of the
nature of creativity, the relationship of the director and actors
to the work of art, and the psychological stress associated with
staging a theatrical production. While preparing to rehearse a new
play by director Luigi Pirandello, a theatre company is interrupted
with the arrival of six strangers on set. After a moment of
frustration and confusion, the director is told that they are six
unfinished characters whose story cannot be told without his
intervention. The Father, Mother, Son, Stepdaughter, Boy, and Child
refuse to leave, forcing the director to convince his actors to
help them fulfill their wish. As the story begins to take shape,
the characters exert more and more control over the set and the
participation of the other actors, soon overtaking the director
entirely. Strange and compelling, Six Characters in Search of an
Author is a unique play which saw resistance from critics and
theatergoers for one reason only: its methods forced them to
question the nature of reality itself. With a beautifully designed
cover and professionally typeset manuscript, this edition of Luigi
Pirandello's Six Characters in Search of an Author is a classic
work of Italian literature reimagined for modern readers.
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The Outcast - A Novel (Paperback)
Luigi Pirandello; Translated by Bradford A. Masoni; Foreword by Daniela Bini
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R446
Discovery Miles 4 460
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Ships in 12 - 17 working days
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A young wife in a nineteenth-century Sicilian village, Marta is
deeply in love with her husband Rocco and pregnant with his child.
But when Rocco discovers a letter written to Marta by a would-be
suitor, he falsely accuses her of infidelity and banishes her from
their home. Soon the whole village turns against the supposed
adulteress, setting in motion a series of tragic events that
culminates in the loss of Marta’s family home and business, as
well as the deaths of her father and newborn child. Plunged
into poverty and treated as a social leper, with practically
nothing else to lose, Marta is determined to claw her way back into
a society bent on excluding her.  The Outcast is an
early masterwork from Nobel Prize–winning Italian author Luigi
Pirandello that combines elements of Zolaesque naturalism with
emerging modernist aesthetics. This fresh English translation, the
first in nearly one hundred years, showcases Pirandello’s deft
play with language and his use of irony. Â
Masterly stories include "Little Hut," "With Other Eyes," "A Voice," "Citrons from Italy," "A Character's Tragedy," six more. English translations.
In this meeting of two of the twentieth century's greatest
playwrights. Tom Stoppard has reinvigorated Luigi Pirandello's
masterpiece of madness and sanity. After a fall from his horse, an
Italian aristocrat believes he is the obscure medieval German
emperor Henry IV. After twenty years of living this royal illusion,
his beloved appears with a noted psychiatrist to shock the madman
back to sanity. Their efforts expose that for the past twelve years
the nobleman has in fact been sane. With his mask of madness
unveiled, the aristocrat launches an offensive to deflect their
unwanted attention. While Pirandello's characters race
linguistically about in Stoppardian dervishes, battling for the
upper hand--and the greatest laughs--one question emerges: What
constitutes sanity?
An Italian nobleman falls from his horse during a pageant. When he
comes round, he believes he's the medieval German emperor, King
Henry IV. For twenty years he lives this illusion but today a plot
is being hatched to shock him out of this 'madness' and into the
twenty-first century. Pirandello's Henry IV, in Tom Stoppard's new
version, premiered at the Donmar Warehouse, London, in May 2004.
Mattia Pascal endures a life of drudgery in a provincial town.
Then, providentially, he discovers that he has been declared dead.
Realizing he has a chance to start over, to do it right this time,
he moves to a new city, adopts a new name, and a new course of
life--only to find that this new existence is as insufferable as
the old one. But when he returns to the world he left behind, it's
too late: his job is gone, his wife has remarried. Mattia Pascal's
fate is to live on as the ghost of the man he was.
An explorer of identity and its mysteries, a connoisseur of black
humor, Nobel Prize winner Luigi Pirandello is among the most
teasing and profound of modern masters. "The Late Mattia Pascal,"
here rendered into English by the outstanding translator William
Weaver, offers an irresistible introduction to this great writer's
work
Originally published in Italian in 1915, "Shoot! "is one of the
first novels to take as its subject the heady world of early motion
pictures. Based on the absurdist journals of fictional Italian
camera operator Serafino Gubbio, "Shoot!" documents the infancy of
film in Europe--complete with proto-divas, laughable production
schedules, and cost-cutting measures with priceless effects---and
offers a glimpse of the modern world through the camera's lens.
"Shoot!, "presented here in its 1927 English translation, is a
classic example of Nobel Prize-winning Sicilian playwright Luigi
Pirandello's (1867-1936) literary talent and genius for blurring
the line between art and reality. From the film studio Kosmograph,
Pirandello's Gubbio steadily winds the crank of his camera by day
and scribbles with his pen by night, revealing the world both
mundane and melodramatic that unfolds in front of his camera.
Through Gubbio's narrative--saturated with fantasy and
folly--Pirandello grapples with the philosophical implications of
modernity. Like much of Pirandello's work, "Shoot!" parodies human
weaknesses, drawing attention to the themes of isolation and
madness as emerging tendencies in the modern world.
Enhanced by new critical commentaries, "Shoot!" is an entertaining
caricature, capturing early twentieth-century Italian filmmaking
and revealing its truths as only a parody can.
A masterful collection by a literary giant of the past century,
rendered by one of our most esteemed Italian translators Regarded
as one of Europe's great modernists, Pirandello was also a master
storyteller, a fine observer of the drama of daily life with a
remarkable sense of the crushing burdens of class, gender, and
social conventions. Set in the author's birthplace of Sicily, where
the arid terrain and isolated villages map the fragile interior
world of his characters, and in Rome, where modern life threatens
centuries-old traditions, these original stories are sun baked with
the deep lore of Italian folktales. In "The Jar," a broken
earthenware pot pits its owner, a quarrelsome landholder, against a
clever inventor of a mysterious glue. "The Dearly Departed" tells
the story of a young widow and her new husband on their honeymoon,
haunted at every turn by the sly visage of the deceased. The
scorned lover, the despondent widow, the intransigent bureaucrat,
the wretched peasant-Pirandello's characters expose the human
condition in all its fatalism, injustice, and raw beauty. For
lovers of Calvino and Pasolini, these picturesque stories preserve
a memory of an Italy long gone, but one whose recurring concerns
still speak to us today.
In February 1925, the 58-year-old world-famous playwright Luigi
Pirandello met Marta Abba, an unknown, beautiful actress less than
half his age, and fell in love with her. She was to become, until
his death in December 1936, not only his confidante but also his
inspiring muse and artistic collaborator, helping him in his plans
to reform Italian theater under the Fascist regime. Pirandello's
love for the young actress was neither a literary infatuation nor a
form of fatherly affection, but rather an unfulfilled, desperate
passion that secretly consumed him during the last decade of his
life. Bitterly disillusioned by the conditions of the theatrical
world in Italy, Pirandello and Abba shared a dream of going abroad
to earn their fortune and returning to Italy with the means to
establish a national theater dedicated to high artistic standards.
In March 1929, when Marta finally yielded to family pressure and
left Pirandello alone in Berlin to revive her Italian stage career
and to end rumors over their involvement, he endured a devastating
heartbreak and fell into a life-threatening depression--more
profound and long-lasting than any of his biographers have yet
imagined. The hundreds of letters Pirandello wrote to Abba during
these years are the only source that reveals the true story of his
relentless torment. Selected, translated, and introduced here for
the first time in any language, these powerful and moving documents
reward the reader with the unique experience of living in intimacy
with a profound poet of human pain. Here Pirandello encourages his
beloved in her difficult career as actor/manager, rejoices in her
triumphs, and desperately implores her to return to him. The
letters are filled with glimpses of this major artistic personality
at some of his most distinctive moments--such as the award of the
Nobel Prize, his meetings with Mussolini, and Marta's
long-dreamed-of success on Broadway--but they remain foremost an
authentic confession of a Pirandello, without the mask of his art,
telling the story of his real-life tragedy. In 1986, two years
before she died, Marta Abba authorized the publication of the
present correspondence so that the world might understand how
deeply Pirandello had suffered. This English-language volume
contains a selection of 164 letters from the complete edition of
552, which Princeton University Press will publish in cooperation
with Mondadori, in the original Italian, in 1995. Originally
published in 1994. The Princeton Legacy Library uses the latest
print-on-demand technology to again make available previously
out-of-print books from the distinguished backlist of Princeton
University Press. These editions preserve the original texts of
these important books while presenting them in durable paperback
and hardcover editions. The goal of the Princeton Legacy Library is
to vastly increase access to the rich scholarly heritage found in
the thousands of books published by Princeton University Press
since its founding in 1905.
Pirandello, winner of the Nobel Prize in Literature, is a little
known to most English readers. Too few of his plays and stories
have been translated. This hook, therefore, serves the double
purpose of introducing the Italian genius through a summary of all
his dramatic work and interpreting his accomplishments fron an
artistic viewpoint. As a background for his criticism, the Domenico
Vittorini shows first how Pirandello's compassionate pessimism and
tragic mockery resulted from his own tortured existence and in what
way his art is relates to Italian literary tradition and
contemporary thought. Proceeding chronologically, Pirandello's
growth is traced from the elementary naturalism of his early
writing, through his more reflective plays, to the crowning
achievements of later years in which dramatic situations are
approached from a highly intellectualized point of view.
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