CONTEMPORARY PIRANDELLO: AN ANALISYS STUDY OF PIRANDELLO DRAMATURGY FROM SCENE

Abstract

Investigate Pirandello’s drama from the scene and the relation actor/ character is also confronting the history of Westwern Theatre. Confront limits and boundaries of the most different aesthetics and theatrical forms, opening new spaces for creation, is the main feature of his dramaturgy. Pirandello did not propose a solution to the crisis of representation that settled in the theatrical experiments which were contemporary. Unlike, his aesthetics is an aesthetics of crisis, and also accumulation among different aesthetic and scenic forms that are plural, multifaceted. It is in contrast, in shock, between the metaphysical and the realism that lies his greatest wealth. In his last years of work, Pirandello resorted to the mediumistic aspects of the scenic materiality, believing that the magic power of the stage could even transform the actor’s body in ghosts, and create dreams. The actor, playwright say, should not turn into a human figure, but evoke a different being, weird -but real, alive - that exists in a different realm of reality.