Sei personaggi in cerca d'autore: Ediz. integrale

Di Luigi Pirandello

Questo dramma di Luigi Pirandello, racconta la vicenda di sei personaggi che si presentano a un Capocomico e gli raccontano di essere stati creati da un Autore, che li ha poi abbandonati, senza però risolvere le loro vicende. Essendo ormai creature vive, essi anelano alla finzione scenica, perché rappresenta la loro unica fonte di salvezza: solo così infatti possono mettere in scena il loro dramma. I personaggi sono un Padre, una Madre, il Figlio, la Figliastra, il Giovinetto e la Bambina. Dopo molte resistenze la compagnia teatrale accetta di rappresentare le storie dei personaggi, che raccontano così le loro vicende... Ma ben presto tra attori e personaggi si apre una frattura profonda e insanabile. Pur impegnandosi con tutte le loro forze, gli attori non sono in grado di rappresentare il vero dramma dei personaggi, i loro sentimenti reali, l’essenza delle loro personalità... Sulla scena tutto sembra falso. Non è dunque possibile rappresentare la vita reale? Pirandello affronta il tema del contrasto non solo tra finzione e realtà, ma anche tra arte e vita, e scavando nel profondo dell’animo umano scrive uno dei più grandi capolavori del teatro universale.

• Lingua: Italiano
• Editore: Crescere
• Data di uscita: 13 giu 2018
• ISBN: 9788883378003

Luigi Pirandello

Luigi Pirandello (1867-1936) was an Italian playwright, novelist, and poet. Born to a wealthy Sicilian family in the village of Cobh, Pirandello was raised in a household dedicated to the Garibaldian cause of Risorgimento. Educated at home as a child, he wrote his first tragedy at twelve before entering high school in Palermo, where he excelled in his studies and read the poets of nineteenth century Italy. After a tumultuous period at the University of Rome, Pirandello transferred to Bonn, where he immersed himself in the works of the German romantics. He began publishing his poems, plays, novels, and stories in earnest, appearing in some of Italy’s leading literary magazines and having his works staged in Rome. Six Characters in Search of an Author (1921), an experimental absurdist drama, was viciously opposed by an outraged audience on its opening night, but has since been recognized as an essential text of Italian modernist literature. During this time, Pirandello was struggling to care for his wife Antonietta, whose deteriorating mental health forced him to place her in an asylum by 1919. In 1924, Pirandello joined the National Fascist Party, and was soon aided by Mussolini in becoming the owner and director of the Teatro d’Arte di Roma. Although his identity as a Fascist was always tenuous, he never outright abandoned the party. Despite this, he maintained the admiration of readers and critics worldwide, and was awarded the 1934 Nobel Prize for Literature.

Anteprima del libro

Terzo

Atto Primo

Di giorno, su un palcoscenico di teatro di prosa.

N.B. La commedia non ha atti né scene. La rappresentazione sarà interrotta una prima volta, senza che il sipario s'abbassi; allorché il Direttore Capocomico e il capo dei personaggi si ritireranno per concertar lo scenario e gli attori sgombreranno il palcoscenico; una seconda volta, allorché per isbaglio il Macchinista butterà giù il sipario.

Troveranno gli spettatori, entrando nella sala del teatro, alzato il sipario, e il palcoscenico com'è di giorno, senza quinte né scena, quasi al bujo e vuoto, perché abbiano fin da principio l'impressione d'uno spettacolo non preparato.

Due scalette, una a destra e l'altra a sinistra, metteranno in comunicazione il palcoscenico con la sala. Sul palcoscenico il cupolino del suggeritore, messo da parte, a canto alla buca. Dall'altra parte, sul davanti, un tavolino e una poltrona con spalliera voltata verso il pubblico, per il Direttore-Capocomico. Altri due tavolini, uno più grande, uno più piccolo, con parecchie sedie attorno, messi lì sul davanti per averli pronti, a un bisogno, per la prova. Altre sedie, qua e lì: a destra e a sinistra, per gli Attori; e un pianoforte in fondo, da un lato, quasi nascosto. Spenti i lumi nella sala, si vedrà entrare dalla porta del palcoscenico il macchinista in camiciotto turchino e sacca appesa alla cintola; prendere da un angolo in fondo alcuni assi d'attrezzatura; disporli sul davanti e mettersi in ginocchio e inchiodarli. Alle martellate accorrerà dalla porta dei camerini il Direttore di scena.

Il direttore di scena

Oh! Che fai?

Il macchinista

Che faccio? Inchiodo.

Il direttore di scena

A quest'ora?

Guarderà l'orologio.

Sono già le dieci e mezzo. A momenti sarà qui il Direttore per la prova.

Il macchinista

Ma dico, dovrò avere anch'io il mio tempo per lavorare!

Il direttore di scena

L'avrai, ma non ora.

Il macchinista

E quando?

Il direttore di scena

Quando non sarà più l'ora della prova. Su, su, portati via tutto, e lasciami disporre la scena per il secondo atto del Giuoco delle parti

Il macchinista, sbuffando, borbottando, raccatterà gli assi e andrà via. Intanto dalla porta del palcoscenico cominceranno a venire gli attori della Compagnia, uomini e donne, prima uno, poi un altro, poi due insieme, a piacere: nove o dieci, quanti si suppone che debbano prender parte alle prove della commedia di Pirandello Il giuoco delle parti, segnata all'ordine del giorno. Entreranno, saluteranno il Direttore di scena e si saluteranno tra loro augurandosi il buon giorno. Alcuni si avvieranno ai loro camerini; altri, fra cui il Suggeritore che avrà il copione arrotolato sotto il braccio, si fermeranno sul palcoscenico in attesa del Direttore per cominciar la prova, e intanto, o seduti a crocchio, o in piedi, scambieranno tra loro qualche parola; e chi accenderà una sigaretta, chi si lamenterà della parte che gli è stata assegnata, chi leggerà forte ai compagni qualche notizia in un giornaletto teatrale.

Sarà bene che tanto le Attrici quanto gli Attori siano vestiti d'abiti piuttosto chiari e gai, e che questa prima scena a soggetto abbia, nella sua naturalezza, molta vivacità. A un certo punto, uno dei comici potrà sedere al pianoforte e attaccare un ballabile; i più giovani tra gli Attori e le Attrici si metteranno a ballare.

Il direttore di scena (battendo le mani per richiamarli alla disciplina).

Via, smettetela! Ecco il signor Direttore!

Il suono e la danza cesseranno d'un tratto. Gli Attori si volteranno a guardare verso la sala del tetro, dalla cui porta si vedrà entrare il Direttore-Capocomico, il quale, col cappello duro in capo, il bastone sotto il braccio e un grosso sigaro in bocca, attraverserà il corridojo tra le poltrone e, salutato dai comici, salirà per una delle due scalette sul palcoscenico. Il Segretario gli porgerà la posta: qualche giornale, un copione sottofascia.

Il capocomico

Lettere?

Il segretario

Nessuna. La posta è tutta qui.

Il capocomico (porgendogli il copione sottofascia).

Porti in camerino.

Poi, guardandosi attorno e rivolgendosi al Direttore di scena:

Oh, qua non ci si vede. Per piacere, faccia dare un po' di luce.

Il direttore di scena

Subito.

Si recherà a dar l'ordine. E poco dopo il palcoscenico sarà illuminato in tutto il lato destro, dove staranno gli Attori, d'una viva luce bianca. Nel mentre, il Suggeritore avrà preso posto nella buca, accesa la lampadina e steso davanti a sé il copione.

Il capocomico (battendo le mani).

Su, su, cominciamo. (Al Direttore di scena): Manca qualcuno?

Il direttore di scena

Manca la Prima Attrice.

Il capocomico

Al solito!

Guarderà l'orologio.

Siamo già in ritardo di dieci minuti. La segni, mi faccia il piacere. Così imparerà a venire puntuale alla prova.

Non avrà finito la reprensione, che dal fondo della sala si udrà la voce della Prima Attrice.

La prima attrice

No, no, per carità! Eccomi! Eccomi!

E' tutta vestita di bianco, con un cappellone spavaldo in capo e un grazioso cagnolino tra le braccia; correrà attraverso il corridojo delle poltrone e salirà in gran fretta una delle scalette.

Il capocomico

Lei ha giurato di farsi sempre aspettare.

La prima attrice

Mi scusi. Ho cercato tanto una automobile per fare a tempo! Ma vedo che non avete ancora cominciato. E io non sono subito di scena. (Poi, chiamando per nome il Direttore di scena e consegnandogli il cagnolino): Per piacere, me lo chiuda nel camerino.

Il capocomico (borbottando)

Anche il cagnolino! Come se fossimo pochi i cani qua. (Batterà di nuovo le mani e si rivolgerà al Suggeritore): Su, su, il secondo atto del Giuoco delle parti. (Sedendo sulla poltrona): Attenzione, signori. Chi è di scena?

Gli Attori e le Attrici sgombreranno il davanti del palcoscenico e andranno a sedere da un lato, tranne i tre che principieranno la prova e la Prima Attrice, che, senza badare alla domanda del Capocomico, si sarà messa a sedere davanti

Recensioni su Sei personaggi in cerca d'autore

[wellreadcatlady · Valutazione: 4 su 5 stelle]

Six Characters in Search of an Author annoyed me so much at first! It's a hard play to grasp at the beginning, but it starts to make sense and it's a unique play with an odd dynamic. Pirandello did a great job with the writing, he obviously knew what he was going for and it came out clear in the ending.

[grlintrrptdrdng · Valutazione: 4 su 5 stelle]

Six Characters in Search of an Author annoyed me so much at first! It's a hard play to grasp at the beginning, but it starts to make sense and it's a unique play with an odd dynamic. Pirandello did a great job with the writing, he obviously knew what he was going for and it came out clear in the ending.

[kaethe_1 · Valutazione: 3 su 5 stelle]

Once upon a time this must have been brilliant, but it was already old hat when I was in high school. That's a problem with most things "experimental".

Library copy

[alcracka · Valutazione: 5 su 5 stelle]

Oh, this play is great. What a fucking thing it is. It's about how we create our own realities: how each of us choose to play a character, to such an extent that we sometimes sit outside ourselves, watching our characters act out their scenes. And it's about the subjective nature of reality: how to each of us, the scenes we live through may be be completely different to each actor in them.

I was talking to a friend recently about the beginning of our relationship, and discovered that her perception of that period has almost nothing in common with mine. If we both explained it to a third party, we would tell wholly different stories. Weird, huh? Both of our stories are equally true; they're just different.

Recently, in an unguarded moment, a different friend of mine let slip who he thinks I am. It was not at all who I think I am! Among other things, his version of me - inexplicably - is not a Viking. I'm pretty sure he was projecting there, but how would I know? Is there anyone less qualified to interpret me than me?

This is what Pirandello's dealing with, at least until Act III when he starts to talk about the writing process and also to wrap up his own plot. It's a very smart play, and years ahead of its time. My character enjoys it. A character under that thinks it's a little show-offy. A character under that is scared that he didn't get it at all, and a character under that is afraid that his opinion hasn't even been written.

[cantinera · Valutazione: 4 su 5 stelle]

Excellent play. If you are in the London area it's a must-see. I don't want to spoil it, but it is fantastic, so I had to get a copy of the play and read the adaptation. Very well done.

[391_1 · Valutazione: 2 su 5 stelle]

Six Characters in Search of an Author was moderately interesting, but horribly didactic. For its time and context is is incredible, but I don't think it holds up as well today.

[garypatella · Valutazione: 4 su 5 stelle]

Is this one of the greatest plays ever? No. Is it worth reading? Yes. The concept is extremely interesting. Six characters simply show up on stage during some other play, and they claim that they are characters from another play that went unfinished because the author died. In telling their story, it is clear that they have their story already and they need no one to finish it for them. Creative idea and a short, quick read.

[clong_818048 · Valutazione: 4 su 5 stelle]

A seminal work in modern drama, and generally regarded as Pirandello's masterpiece, Six Characters is more thought provoking than entertaining (although I've never seen a live performance, and I imagine it works pretty well on stage). All of Pirandello's plays explore the conflict between appearance and reality, and Six Characters adds an additional dimension by separating the "characters" from their author's concept (almost like a platonic "ideal" that is only vaguely understood by the author who puts the role on paper).

[selinalynn69 · Valutazione: 2 su 5 stelle]

meh, a play about a play by characters who don't play nice

[leslie398 · Valutazione: 4 su 5 stelle]

3½ stars. Upgraded this to 4 after discussion.

It took me a bit to warm up to this unusual play but in the end it was thought-provoking. I would like to see a performance!

[aliciamay_1 · Valutazione: 4 su 5 stelle]

This is a play from 1921 – an intellectual comedy which contrasts illusion with reality by introducing six individuals to a bare stage occupied by actors in rehearsal. These six characters proclaim themselves to be the incomplete creations of an author’s imagination and demand dialog for the story of their lives. The following is a favorite quote from the play where the character of the Father is talking to the Manager of the theater company. Needless to say the Manager has been skeptical that the six characters solely exist because they were created by an author. “It's only to show you that if we (indicating the CHARACTERS) have no other reality beyond the illusion, you too must not count overmuch on your reality as you feel it today, since, like that of yesterday, it may prove an illusion for you tomorrow.”I found the whole play to be fascinating. What an idea that characters are more real than us and their reality is more concrete because it always remains what was created by an author. This is available through Project Gutenberg and is a really quick read. If this concept is at all interesting to you, I would strongly recommend talking the time to read it.

[praj05_1 · Valutazione: 4 su 5 stelle]

They say I was born in June. The day, the year somehow ceases to exist. I live with my mother. She stares at the wall, singing songs unnoticing my existence in the house. Is this how being an orphan feels like? I used to work at Madame Pace’s dress shop. Only it wasn't a dress shop. It was a whore house where I used to entertain clients throughout the night. My mother was unaware of my earnings, but as if it mattered. Then, one day I fell in love. In fact, I fell in love with his eyes. The same brown affectionate eyes that I own. They were so memorable, they were mine. I could see myself in them. My eyes on this strange face, mesmerizing yet daunting. He was my client, elderly yet so affectionate. Months went by, but he never visited me again. I looked for him but no avail. They say, he shot himself out of guilt. He was my biological father. The shame of seducing his own blood ate him up after finding my truth. So, as I lay in a pool of blood, the cold metal burning against my sinful hands, I pierce the sharp edge into the warm blob of flesh. I killed my baby. I killed my brother. I practically cease to exist now. Shame and numbness has weighed my soul into nothingness. The man once my mother had left my father for took her away. So, here I come to you with an unfilled life and an unfinished story pleading you to bring an authored conclusion.

“You imbecile”, yelled the stage-manager. “You expect me to believe this garbage and let my actors perform your absurdity".

“Yes”, I affirm, “The settings should be realistic and the truth should be told in its unaltered form.”

“I am an unrealized character sir”, I humbly say, “I need you to finish my story and bring it to life”.

The stage manager now enraged walks away hurling obscenities and muttering, “Acting is our business here. Truth up to a certain point, but no further”; as he looks at me with a sardonic smile.


Pirandello illuminates the ‘Theatre of Absurd’ genre in this bizarre performance. A form of drama that emphasizes the absurdity of human existence by employing disjointed, repetitious and meaningless dialogue, purposeless and confusing situations and plots that lack realistic or logical development. Purely in its theatrical form he depicts a tale of six characters in search of an author who is able not only to complete their fragmentary story but to perform their ingenuous legitimacy. A story which is not a story after all. Through the numerous arguments between the six characters and the stage manager about portrayal of reality in its unaltered state to the audiences marks the debate of life reality v/s stage reality. The sense of illusion what is illustrated to be a reality on performance stage is far from the factual forms.

The plethora of reality television that demarcates an entire generation outlook mutates the genuineness of its characters. How real are the nuances of these actors who state publicly that their respected shows are not scripted but spontaneous? The movies that state ‘based on a true story’, how far do they enact the truth or is pragmatism edited to normalization of absurdity. Pirandello stresses on the theatre being an illusion of reality where actors masquerade real emotions through rehearsals and mutability.

A brilliant existentialism perception of individuals being characters all through their life portraying roles that they're born into and the normality of emotions attached to their specific roles. Who are we? The roles that we are born into or the tangible roles we want to play.

[ninelarks-1 · Valutazione: 4 su 5 stelle]

I don't normally enjoy reading plays. It is like reading music notes on page instead of listening to the orchestra, or reading about perfume instead smelling the scent. I would much rather watch the play than read it. But I picked this one up because of the author and found myself enraptured by the concept.

As a part of inspiration for Waiting for Godot and other existentialism plays, this play focuses on six characters in search of an author - and their drive to make their lives into some semblance of reality.

I loved this. It was a mix of philosophy and contemplating the meaning of life, all the while breaking the fourth wall, naming the author by name, and asking whether we are all actors in a play.

This is one of my more favorited quotes.

The Father [with dignity, but not offended ]. A character, sir, may always ask a man who he is. Because a character has really a life of his own, marked with his especial characteristics; for which reason he is always "somebody." But a man – I'm not speaking of you now – may very well be " nobody.

Characters who have come to life, yet have no author to claim them, ask the actors whether they are playing at an illusion when they try to imitate the characters. And it is ironic because they actually do have an author.

There is just so much packed into 70 short pages.

4.5 stars. Quite lovely.

[bookworm12_1 · Valutazione: 3 su 5 stelle]

This creepy little one act play is strange but also captivating. A theatre crew is about to start a rehearsal when six people show up asking for help. They need someone to listen to their story and they want to perform it at the theatre. The crew finally agrees and is quickly drawn into the world the create.The six people are claiming to be characters created by an author who never completed their story. They want nothing more than to know how their tale ends. The idea for the book alone is enough of a reason to read it. BOTTOM LINE: It's an eerie little book and a production I would love to see preformed some day. I'm sure seeing it would pack a bigger punch. "Like most people I can only act the part I've chosen for myself, or that's been chosen for me. But as you see, the role sometimes runs away from me, and I get a little melodramatic. All of us do."