Luigi Pirandello Boeken

Luigi Pirandello beschouwde zijn verhalen en novellen als zijn hoffdwerk. Hij schreef een aantal dichtbundels, enkele romans, en behalve nog talloze essays en kritische beschouwingen bijna 40 toneelstukken. Deze waren het vooral die hem beroemd maakten over de hele wereld. Niet minder dan 23 van de 33 avondvullende toneelstukken vinden hun oorsprong in zijn novellistisch werk, dat veel meer dan 200 verhalen bezat.In deze bundel vindt men een door Max Nord, de Nederlandse biograaf van Pirandello, gekozen en ingeleide kleine bloemlezing verhalen die tussenn 1896 en 1911, 1911 en 1918, 1920 en 1036 geschreven zijn. In twee andere delen, Het rode boekje en De pijn om zo te leven, zijn nog meer verhalen en novellen samengebracht die de Italiaanse Nobelprijswinnaar van zijn zeventiende jaar tot enkele dagen voor zijn dood is blijven schrijven.Gekozen en ingeleid door Max Nord

Serafino is a typical Pirandellian anti-hero, a spectator rather than a participant in the tragi-comedy of human existence. Indeed he has the perfect job for it, that of a film cameraman. Serafino is an observer, an impersonal tool of a new industry based on make-believe. All he has to do is turn the handle of his camera and watch. He has no part in what is going on and is so removed from life that the mauling of an actor by a tiger cannot deflect him from filming the action. The Notebooks of Serafino Gubbio is set in Rome circa 1915, partly on a film set, partly in the city.

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 removed, 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 What constitutes sanity?

Pascal, a landowner fallen on hard times and trapped in a miserable marriage, runs away and wins money at the gaming tables. Meanwhile a body has been found in the millrace of his village and it is assumed that Pascal has killed himself.

Renowned for his innovative plays, Luigi Pirandello, an Italian literary giant, transformed psychological analysis into compelling theatre, earning the Nobel Prize in Literature in 1934. His extensive body of work includes novels, hundreds of short stories, and approximately 40 plays, with some written in Sicilian. His tragic farces laid the groundwork for the Theatre of the Absurd. Notably, his first significant work, Marta Ajala, emerged in 1893, followed by his first short story collection, Amori Senza Amore, in 1894.

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 removed, 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 What constitutes sanity?

The great Pirandello's (1867-1936) 1926 novel, previously published here in 1933 in another translation, synthesizes the themes and personalities that illuminate such dramas as Six Characters in Search of an Author.Vitangelo Moscarda ``loses his reality'' when his wife cavalierly informs him that his nose tilts to the right; suddenly he realizes that ``for others I was not what till now, privately, I had imagined myself to be,'' and that, consequently, his identity is evanescent, based purely on the shifting perceptions of those around him. Thus he is simultaneously without a self--``no one''--and the theater for myriad selves--``one hundred thousand.'' In a crazed search for an identity independent of others' preconceptions, Moscarda careens from one disaster to the next and finds his freedom even as he is declared insane.It is Pirandello's genius that a discussion of the fundamental human inability to communicate, of our essential solitariness, and of the inescapable restriction of our free will elicits such thoroughly sustained and earthy laughter.

A masterful collection by a literary giant of the past century, rendered by one of our most esteemed Italian translators

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 once 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

The plot revolves around a theater company interrupted by six incomplete characters seeking a writer to finish their narratives. This unique encounter blurs the lines between fiction and reality, as the characters express their frustrations and desires to be fully realized. The play explores themes of identity, existence, and the creative process, challenging traditional storytelling conventions and engaging the audience in a philosophical dialogue about the nature of art and authorship.