Luigi Pirandello

Um dos pontos mais importantes da crítica e da teoria feita por Luigi Pirandello é o conceito de humorismo. Em seu ensaio L’umorismo (1908), Pirandello nos dá a base de sua escrita e aponta que a questão fundamental do humorista centra-se no sentimento do contrário. Neste trabalho, analisamos com profundidade textos poéticos de Pirandello, a fim de perceber a especificidade da obra de arte humorística e relacioná-la ao conceito de existencialismo, principalmente aquele seguido por Jean Paul Sartre. Concluímos afirmando que o humorismo é tanto uma teoria de crítica literária quanto uma espécie de teoria da vida, por valorizar as ações humanas que fogem ao enquadramento harmonioso que a arte em geral pinta, mas que inexistem, de fato, na praxis da vida.

«THE MOUNTAIN GIANTS» BY LUIGI PIRANDELLO IN RUSSIA: TRANSLATORS’ READINGS AND THEATRICAL RECEPTION

The article briefly discusses the history of the creation and staging of the last unfinished play by Luigi Pirandello «Mountain Giants» (1936) in Italy. The main focus is on staging and interpretation of Pirandelloʼs play in Russia, namely on the E. Kamenkovich and P. Agureeva 2014 production at the Moscow Theater «Workshop of Pyotr Fomenko», for which a new translation of the play into Russian was prepared. The comparative analysis of the text of Pirandello's play in Italian and the video record of the performance at the «Peter Fomenkoʼs Workshop» was carried out, which aim is to identify peculiarities of this Russian translation and changes made by the producers while staging the Pirandelloʼs play for the Russian-speaking audience, as well as to understand how the directors overcome the problem of the missing ending.

Expressionism in the 'Midnight' by Josip Kulundžić

The aim of this paper is to get an insight into a part of Josip Kulundžić's expressionist drama through the analysis of the play Midnight and the playwright's attitude towards drama and dramatic and theatrical theories of the Italian playwright Luigi Pirandello. Starting from the assumption that Kulundžić's expressionist dramatic opus is one of the paradigmatic and poetically most significant dramatic opuses of Croatian and Serbian dramatic expressionism, the first part of the paper will systematise Josip Kulundžić's expressionist dramatic opus, show its features and value, and through the analyses of the play Midnight mark the author's attitude towards pirandelism as a significant phenomenon on the then world drama and theatre scene. This revalues the significance and role of Josip Kulundžić and his dramatic work within the framework of Croatian and Serbian literature of the first half of the 20th century.

Paisagens da memória: a nostalgia siciliana em I vecchi e i giovani de Luigi Pirandello

O presente artigo pretende investigar a relação entre paisagem e memória no romance I Vecchi e i Giovani, de Luigi Pirandello, e como essa interação se relaciona com o sujeito siciliano, analisando os casos dos personagens Mauro Mortara e Dom Ippolito Laurentano. Antes de chegar a esse ponto da discussão, no entanto, serão realizadas análises da poesia árabe-siciliana de Ibn Ḥamdîs, poeta que precisou partir para o exílio quando a Sicília fora reconquistada pelos europeus e que sobre a ilha escreveu versos cheios de nostalgia e sofrimento. A intenção aqui é restituir Ḥamdîs ao seu devido lugar dentro da literatura siciliana/italiana e observar conexões entre a sua poesia e o romance de Pirandello. Entendendo que a paisagem siciliana é resultado de uma sedimentação histórico-cultural milenar e o siciliano um sujeito nostálgico, a sua ligação com a própria terra será paradoxal: ora de apego exacerbado, ora de repulsa, relembrando aquilo que o poeta latino Ovídio imortalizara nos versos Nec sine te nec tecum vivere possum [Nem contigo, nem sem ti posso viver].

Gustaw Herling-Grudziński e la letteratura italiana del XX secolo

Magdalena Śniedziewska’s book discusses a theme in Gustaw Herling-Grudziński’s works which has not been thoroughly researched, i.e. their relationship with Italian literature. This is how we discover Herling-Grudziński as a writer who is simultaneously a great literary criticwho looks eagerly and with both interest (sometimes) and passion at the work of such authors as Nicola Chiaromonte, Ignazio Silone, Alberto Moravia, Luigi Pirandello, Tomasi di Lampedusa and Leonardo Sciascia. The opening chapter of the book discusses Herling-Grudziński’s condition as an emigrant and the changes in his attitude to Naples which became his second home after World War II; the final chapter is about the Polish writer’s difficult relationship with Italian book market, reconstructing the story of the reception of Inny świat (A World Apart) in Italy.

“Though This Be Madness, Yet There Is Method In't”. The motif of feigned madness in William Shakespeare's Hamlet and Luigi Pirandello’s Henry IV

Feigned madness is a motif that – with varying frequency – returns in literary texts. It is usually a carrier of important metaphors, such as: search for truth, escape from reality or conscious rejection of routine. Moreover, it seems to have an exceptional interpretative potential in dramas as it also symbolises a performative treatment of existence and an awareness of fiction which directs the poetics of the drama towards the meta-theatre. The author of this article considers these issues in relation to the titular characters of two dramatic masterpieces of world literature: Hamlet by William Shakespeare and Henry IV by Luigi Pirandello. Both characters, for various reasons, decide to hide their true psychological condition under the image of a madman, which, interestingly, confirms their sophistication and intellect. Putting on the mask of a madman guarantees the privilege of unpunished violation of conventions and established orders, hated by individuals such as Hamlet or Henry IV. This rebellion and emancipation lead to the final defeat of these characters, who, however, dominate over the others, since, unlike other actors who dispassionately play roles that have been imposed to them, they choose their roles, and – most importantly – they are aware that they are playing.