Pirandello e la nuova identità del teatro
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Florica Dutǎ [1]
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[1] Spiru Haret University (Bucharest)
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- Localización: Border crossings: rethinking "trans-" in literature, language, and media: Faculty of Letters, Spiru Haret University & Macalester College Minnesota. International Conference May 17-18, 2017. Bucharest / coord. por Denisa Drǎgușin, David Martyn, Ruxandra Vasilescu, 2017, ISBN 978-88-97908-34-0, págs. 35-41
- Idioma: italiano
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Resumen
The present article wants to be a modest homage, written in the honour of the great Italian dramatist on the occasion of the 150th anniversary of his birth.Pirandello can be considered a European author, “a European citizen” not only for his numerous trips and long stays in various countries of the continent, but also for his openness to the new and for the attention that he paid to the ideas and to the movements that were fermenting during that period in Europe. He is also a cosmopolite spirit thanks to what he receives, assimilates and transmits from Europe.Open to the innovations in literature, Pirandello was influenced by the Expressionism and the Futurism, so we can find many characteristics belonging to these movements in his theatrical opera. Hence, the themes of the unconscious and of the split personality, expressions of the modern human identity crisis, are developed by the Italian dramatist in a specific manner. These themes are elaborated to the extreme limits, to the total alienation, to a marionette condition.Pirandello is a also a precursor for having noticed the impotence and the ineffectiveness of the verbal language since he considered the word as something fake, inaccurate, something that cannot be trusted, unmasking the modern human being incapacity to communicate. Even if he did not lead his operation to the extreme consequences of a linguistic disintegration, the dramatists of the absurd like Ionesco, Beckett and Adamov will imitate this characteristic of his opera.
