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Journal articles on the topic 'Pirandello, Luigi'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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1

Lepschy, A. L., and Harold Bloom. "Luigi Pirandello." Modern Language Review 86, no. 1 (January 1991): 224. http://dx.doi.org/10.2307/3732156.

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2

Silva, Valmir Luis. "Luigi Pirandello." Tabuleiro de Letras 15, no. 1 (July 1, 2021): 44–54. http://dx.doi.org/10.35499/tl.v15i1.10366.

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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.
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3

Longman, Stanley V., Susan Basnett-McGuire, and A. Richard Sogliuzzo. "Luigi Pirandello." Theatre Journal 37, no. 3 (October 1985): 392. http://dx.doi.org/10.2307/3206877.

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4

Bibikova, Alexandra. "«THE MOUNTAIN GIANTS» BY LUIGI PIRANDELLO IN RUSSIA: TRANSLATORS’ READINGS AND THEATRICAL RECEPTION." RZ-Literaturovedenie, no. 1 (2021): 79–89. http://dx.doi.org/10.31249/lit/2021.01.07.

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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.
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5

Antonetti (book author), Renata Marsili, and Antonio Alessio (review author). "Luigi Pirandello intimo." Quaderni d'italianistica 19, no. 2 (October 1, 1998): 156–58. http://dx.doi.org/10.33137/q.i..v19i2.9470.

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6

Ragusa, Olga, and Fiora A. Bassanese. "Understanding Luigi Pirandello." Italica 76, no. 1 (1999): 108. http://dx.doi.org/10.2307/479809.

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7

Koman, Aleksandra. "Ofelia Pirandella: rozważania nad kobiecym szaleństwem." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 150–58. http://dx.doi.org/10.24917/20811853.17.13.

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Ophelia of Pirandello: reflections around female madnessAbstractThe article is devoted to an analysis of Luigi Pirandello’s drama As You Desire Me which drawsinspiration from an actual event connected with questions on the identity of a person sufferingfrom amnesia. Unlike the real incident, the main character of Pirandello’s is a woman knownonly by her alias Stranger, as the main theme of the drama is establishing her true identity. Thepresent article aims at proving that Pirandello’s drama is not a criminal mystery, but rathera deep reflection on the notion of human personality which in the case of a woman receivesnew, interesting meanings. One of them is spotting the correspondence between Pirandelli’sStranger and Shakespeare’s Ophelia, as madness of both characters appears to have similarroots: female’s insanity seen through the prism of both dramas appears as defiance againstthe culture of patriarchy, but also stems from the conviction of one’s own emptiness andundefinedness. In this context, referring to studies on feminist criticism (E. Shawalter,K. Kłosińska, K. Woźniak), including studies on female hysteria is of relevance. Even thoughthe structure of drama appears to lead to a finale in which the truth about the character isuncovered, Pirandello does not reveal her true identity. However, questions on female identityand female madness are worth reflecting upon, even if they remain unanswered.Keywords: Luigi Pirandello, As you desire me, impersonality, Ophelia, tarantism, Jean-MartinCharcot, Aleksandra Mianowska, female madness, female identity, Elaine Showalter, feministliterary criticism
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8

Schachter, Elizabeth, Gian-Paolo Biasin, and Manuela Gieri. "Luigi Pirandello. Contemporary Perspectives." Modern Language Review 96, no. 2 (April 2001): 539. http://dx.doi.org/10.2307/3737434.

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9

Pagano, Tullio, Gian-Paolo Biasin, and Manuela Gieri. "Luigi Pirandello: Contemporary Perspectives." Italica 77, no. 3 (2000): 428. http://dx.doi.org/10.2307/480312.

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10

Vanagaitė, Gitana. "Luigi Pirandello’s Works in Lithuania: Why the Dialogue Did Not Take Place." Interlitteraria 21, no. 2 (January 18, 2017): 216. http://dx.doi.org/10.12697/il.2016.21.2.5.

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Luigi Pirandello (1867–1936) was an Italian modernist writer and playwright who enriched literature with questions of modern identity as it relates to the contradiction between human consciousness and reality. Pirandello pondered questions of art and reality, mask and essence, life and form, and the fragmentation of a personality. In his works, he also foresaw what would later constitute the base of existential philosophy.The reception of Pirandello’s works in Lithuania has been limited, in part because of the small number of his works translated into Lithuanian – only a dozen short stories, two plays, and a novel.The first more or less systematic and thorough introduction to the play wright and his works took place in 1934, when the Italian writer was awarded the Nobel Prize in Literature for his “bold and brilliant renovation of the drama and the stage.” A few articles on Pirandello’s creative principles appeared in the Lithuanian press. A Lithuanian poet, Kazys Binkis, translated the beginning of Pirandello’s play, Sei personaggi in cerca d’autore (Six Characters in Search of an Author, 1921), and a writer, Kostas Korsakas, edited a book consisting of five novels, Pirmoji naktis (‘First Night’). A Lithuanian translation of his novel, Il fu Mattia Pascal (The Late Mattia Pascal, 1904), and two plays, Sei personaggi in cerca d’autore and Enrico IV (Henry IV, 1922), came out during the Soviet period.All translations were accompanied by a foreword containing basic biographical details about and introducing Pirandello’s cultural, literary and creative life. Although Pirandello gets attention in Lithuanian university textbooks, no academic paper about him or his works has been published yet. There have been no translations of Pirandello’s theoretical texts, his thoughts on the cultural situation, literature, and man at the beginning of the 20th century, i.e., a volume of essays Arte e Scienza (Art and Science) written in 1908 or an important long essay, L’umorismo (On Humor), in which author also examines the principles of his own art. On the other hand, the literary reception of Pirandello’s works has been supplemented by theater performances. Five plays of his were mounted and the play, Henry IV, was twice produced on Lithuanian theater stage.The article examines why Pirandello’s artistic ideas, which reached Lithuania during the second decade of the 20th century, remained on the periphery and failed to influence the literary canon. Keywords: Luigi
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11

Ruggiero, Mauro. "Occult Influences on Luigi Capuana and Luigi Pirandello." Књижевна историја 52, no. 172 (2020): 87–102. http://dx.doi.org/10.18485/kis.2020.52.172.6.

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12

Esposito, Vittoriano. "Book Review: Luigi Pirandello Pittore." Forum Italicum: A Journal of Italian Studies 40, no. 1 (March 2006): 194–96. http://dx.doi.org/10.1177/001458580604000117.

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13

Cellinese, Anna. "Luigi Pirandello: Contemporary Perspectives (review)." MLN 116, no. 1 (2001): 200–204. http://dx.doi.org/10.1353/mln.2001.0001.

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14

Bussino, Giovanni R., and Madeleine Strong Cincotta. "Luigi Pirandello: The Humorous Existentialist." Italica 69, no. 2 (1992): 242. http://dx.doi.org/10.2307/479538.

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15

Holanda, Sérgio Buarque de. "Conversando com Pirandello." Sala Preta 17, no. 2 (December 26, 2017): 186. http://dx.doi.org/10.11606/issn.2238-3867.v17i2p186-191.

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Entrevista com Luigi Pirandello conduzida por Sérgio Buarque de Holanda e publicada originalmente n’O Jornal (RJ), 11 de setembro de 1927, p. 3 (extraído de: O Estado de S. Paulo, 31 de dezembro de 1988, p. 2).
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16

Pirandello, Luigi, Diego Silveira Coelho Ferreira, and Andréia Guerini. "Ilustradores, autores e tradutores." Cadernos de Tradução 40, no. 2 (May 19, 2020): 465–85. http://dx.doi.org/10.5007/2175-7968.2020v40n2p465.

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17

Sabbatino, Pasquale. "Luigi Pirandello e Peppino de Filippo." Quaderni d'italianistica 36, no. 1 (January 27, 2016): 193–232. http://dx.doi.org/10.33137/q.i..v36i1.26279.

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Nella ricca produzione teatrale di Peppino De Filippo, per la quale alla luce dei recenti studi e rinvenimenti è auspicabile una nuova stagione filologica, vengono analizzate le riduzioni napoletane di Liolà e Lumie di Sicilia (LL’uva rosa) di Pirandello. Gli interventi di Peppino sul testo pirendelliano risultano finalizzati non solo all’adattamento degli ambienti alla realtà napoletana, ma soprattutto a una personalizzazione delle messinscena, che in particolar modo nella caratterizzazione dei personaggi risente della sensibilità e delvissuto umano dell’autore partenopeo.
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18

Schachter, Elizabeth, and Ann Hallamore Caesar. "Characters and Authors in Luigi Pirandello." Modern Language Review 95, no. 2 (April 2000): 530. http://dx.doi.org/10.2307/3736209.

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19

Vittorini, Domenico. "Luigi Pirandello at Close Range [1937]." World Literature Today 63, no. 2 (1989): 190. http://dx.doi.org/10.2307/40144810.

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20

Bullaro, Grace Russo. "Book Review: Luigi Pirandello: Contemporary Perspectives." Forum Italicum: A Journal of Italian Studies 33, no. 2 (September 1999): 599–601. http://dx.doi.org/10.1177/001458589903300229.

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21

Bini, Daniela, Benito Ortolani, and Pietro Frassica. "Il carteggio Luigi Pirandello-Marta Abba." Italica 72, no. 3 (1995): 356. http://dx.doi.org/10.2307/479724.

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22

Bronowski, Cezary. "Il caso-Sicilia nel romanzo storico-sociale I vecchi e i giovani di Luigi Pirandello." Studia Romanica Posnaniensia 49, no. 3 (December 5, 2022): 63–74. http://dx.doi.org/10.14746/strop.2022.493.005.

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The author’s intention is to present the “Sicily case” in Luigi Pirandello’s socio-historical novel The Old and the Young (1913). The article explores the concept of the so-called “Sicily case” in Pirandello, which has not only its own environmental and literary specificity, but also social-political context. It is closely linked to the terrifying image of Sicilian nature that corresponds to the topical motif of the locus amoenus and its complete reversal, seen in the mirror distorted by the political and social climate of the country at the time. The “Sicily case” in Pirandello’s novel becomes a propeller of human consciousness, indeed the writer with several environmental references, the writer indeed highlights the affinities.
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23

Da Rocha, Priscilla Nogueira, and Sonia Cristina Reis. "legado de Maquiavel no teatro de Luigi Pirandello." Revista de Italianística, no. 39 (December 30, 2019): 23–33. http://dx.doi.org/10.11606/issn.2238-8281.v0i39p23-33.

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O presente artigo pretende analisar as obras Mandragola (1518), de Nicolau Maquiavel, e L’uomo, la bestia e la virtù (1919), de Luigi Pirandello, buscando evidenciar que, embora em séculos diferentes, os textos dos dramaturgos facultam um diálogo no que tange à utilização do recurso de máscaras sociais para encobrir seu real interesse, como, por exemplo, na figura do astuto, que usa uma poção na tentativa de ajudar a personagem principal a resolver seus problemas, e no emprego do riso como recurso estilístico. Assim como na obra de Maquiavel, é possível encontrar no texto de Pirandello uma sátira sobre a Itália de sua época, indicando uma série de hábitos de sua sociedade e, tal como Lucrezia na obra de Maquiavel, a Sra. Perella da obra de Pirandello disfarça sua traição e, mediante o riso (ou mais especificamente o riso humorístico), o autor siciliano direciona o público a perceber que, independente da época, manter as aparências é mais relevante para a manutenção do status social do que a essência e a virtude.
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24

Boselli, Stefano. "The Short Play and Postmodernist Stage Directing: A Virtual Experiment with Pirandello’s Cecè." Quaderni d'italianistica 32, no. 2 (April 9, 2012): 159–82. http://dx.doi.org/10.33137/q.i..v32i2.16313.

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The one-act play Cecè (1913) by Luigi Pirandello belongs to the playwright’s early production and has been rightly praised for its perfect comic mechanism. Yet, it has heretofore attracted little attention in the academic world. Despite containing one of the first instances of the author’s approach to the instability of self, one of the reasons why its depth appears limited, resides in its brevity when compared to Pirandello’s major works. However, its very economy may allow a director to be experimental and offer multiple versions and perspectives to the audience in a single evening, showcasing a variety of critical theories.
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25

Quilian de Vargas, Andrea. "AS MANIFESTAÇÕES DO MAL EM O SOPRO, O FILHO TROCADO E MAL DA LUA, DE LUIGI PIRANDELLO." Miscelânea: Revista de Literatura e Vida Social 23 (September 12, 2018): 195–214. http://dx.doi.org/10.5016/msc.v23i0.1166.

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Luigi Pirandello produziu dezenas de narrativas curtas que se inserem em um gênero que teve seu auge no final do século XIX: a literatura fantástica. Este texto se justifica pela necessidade de uma nova abordagem sobre as novelas de Pirandello, com o intuito de mostrar de que forma o mal se faz presente em três de seus contos fantásticos: O sopro, O filho trocado e Mal da lua.
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26

Providenti (book author), Elio, and Antonio Alessio (review author). "Luigi Pirandello. Lettere della formazione, 1891-1898." Quaderni d'italianistica 18, no. 2 (October 1, 1997): 292–94. http://dx.doi.org/10.33137/q.i..v18i2.10008.

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27

Maurer, Arnold E. "LUIGI PIRANDELLO: Lettere da Bonn. 1889–1891." Annalen des Historischen Vereins für den Niederrhein 189, jg (December 1986): 264–65. http://dx.doi.org/10.7788/annalen-1986-jg77.

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28

Albertocchi, Giovanni. "Pirandello, Luigi (1998). «El difunto Matías Pascal»." Quaderns d’Italià 4 (November 3, 1999): 179. http://dx.doi.org/10.5565/rev/qdi.185.

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29

Ardolino, Francesco. "Alemany, Josep (ed.) (2013). Luigi Pirandello «L’humorisme»." Quaderns d’Italià 18 (November 2, 2013): 316. http://dx.doi.org/10.5565/rev/qdi.358.

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30

Bassnett, Susan. "Assessing Luigi Pirandello: Changing Patterns of Influence." Romance Studies 7, no. 2 (December 1989): 29–35. http://dx.doi.org/10.1179/026399090786620995.

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31

Bassnett, Susan. "Assessing Luigi Pirandello: Changing Patterns of Influence." Romance Studies 8, no. 1 (June 1990): 29–35. http://dx.doi.org/10.1179/ros.1990.8.1.29.

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32

De Vargas, Andrea Quilian, and Rosani Ketzer Umbach. "SOMBRAS E DISSONÂNCIAS EM PIRANDELLO." Estudos Linguísticos e Literários 56, no. 56 (June 25, 2017): 6. http://dx.doi.org/10.9771/2176-4794ell.v56i56.17220.

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<p>A ausência de relações de causa e efeito, as referências autobiográficas, o “romance dentro do romance” e a personagem entendida como “projeção mental” do autor são elementos presentes em inúmeras obras do escritor siciliano Luigi Pirandello. O objetivo deste trabalho é mostrar que o uso dessas estratégias em romances e novelas contraria a harmonia da narrativa naturalista e nega a ideia de personagem como cópia dos seres humanos.</p>
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33

Junior, Dário Borim. "Mad tricks in modern drama." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 161. http://dx.doi.org/10.17851/2317-2096.7.0.161-167.

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This study assesses the degree of harmony within the interaction between thematic configuration and dramatic effect in two pioneering and exponent works of Modem Drama: The Emperor ]ones (1920), by Eugene O'Neill, and Henry IV (1922), by Luigi Pirandello.
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34

Boselli, Stefano. "Pirandello's Theatre of Living Masks: New Translations of Six Major Playsby Luigi Pirandello." Translation Review 84, no. 1 (November 2012): 58–61. http://dx.doi.org/10.1080/07374836.2012.730337.

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35

Zambon, Patrizia. "VITTORIA AGANOOR E LUIGI PIRANDELLO: DITTICO DI PROSE." Forum Italicum: A Journal of Italian Studies 34, no. 1 (March 2000): 162–72. http://dx.doi.org/10.1177/001458580003400110.

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36

Bedogni, Ursula. "Pirandello, Luigi (1999). «Els gegants de la muntanya»." Quaderns d’Italià 4 (November 3, 1999): 184. http://dx.doi.org/10.5565/rev/qdi.188.

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37

Bassanese, Flora A., and Rena A. Syska-Lamparska. "Ars dramatica: studi sulla poetica di Luigi Pirandello." Italica 77, no. 1 (2000): 136. http://dx.doi.org/10.2307/3250703.

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38

Donati, Corrado. "Review: Luigi Pirandello, Tutto il teatro in dialetto." Forum Italicum: A Journal of Italian Studies 29, no. 1 (March 1995): 210–11. http://dx.doi.org/10.1177/001458589502900126.

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39

Bazzoni, Jana O'Keefe, Susan Bassnett, and Jennifer Lorch. "Luigi Pirandello in the Theatre: A Documentary Record." Italica 72, no. 2 (1995): 234. http://dx.doi.org/10.2307/480165.

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40

Vladova, Tania. "Luigi Pirandello : la voix du théâtre face à la machine qui parle." L’Annuaire théâtral, no. 56-57 (August 30, 2016): 75–91. http://dx.doi.org/10.7202/1037329ar.

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À ce jour, il manque encore une prise en compte conséquente de l’importance du son, de la voix et de l’écoute dans les réflexions de Luigi Pirandello sur le théâtre et les nouveaux médias. Le présent article contribue à combler cette lacune par une mise en contexte et une lecture attentive des propos novateurs de Pirandello sur le son et l’écoute à la radio, au cinéma et au théâtre ainsi que par un nouvel éclairage sur sa dernière pièce, Les géants de la montagne. Lue dans cette perspective, celle-ci apparaît entièrement consacrée à la voix du théâtre et à la crise de l’écoute dans le monde contemporain.
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41

Mariani, Annachiara. "The Catastrophic ‘Modernity’ and the ‘Uncivilized’ Civilization in Luigi Pirandello and Luigi Antonelli." Romance Notes 53, no. 3 (2013): 251–62. http://dx.doi.org/10.1353/rmc.2013.0028.

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42

Nosella, Berilo Luigi Deiró. "A presença de Luigi Pirandello e Jorge Andrade no moderno teatro brasileiro, ou como Décio de Almeida Prado os enxerga através da lente da formação." Pitágoras 500 2, no. 2 (November 14, 2012): 69–84. http://dx.doi.org/10.20396/pita.v3i3.8634766.

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O presente artigo configura-se como um exercício no intuito de pontuarmos algumas questões fundamentais do pensamento de Décio de Almeida Prado no que concerne à formação do teatro brasileiro moderno lançando um olhar para como Décio articulou, em sua atividade crítica, uma recepção à obra de Luigi Pirandello e Jorge Andrade em nossos palcos.
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43

Subialka, Michael. "Luigi Pirandello, Six Characters in Search of an Author." Forum Italicum: A Journal of Italian Studies 48, no. 3 (October 3, 2014): 633–35. http://dx.doi.org/10.1177/0014585814542229.

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44

Paynter, Maria Nicolai, and Luciana Martinelli. "Lo specchio magico: Immagini del femminile in Luigi Pirandello." Italica 71, no. 2 (1994): 249. http://dx.doi.org/10.2307/480021.

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45

Michelacci, Lara. "modello per Pirandello: Capuana e gli spiriti." Revista de Italianística, no. 37 (December 30, 2018): 66–77. http://dx.doi.org/10.11606/issn.2238-8281.v0i37p66-77.

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Il saggio analizza l’influenza di Capuana sull’opera di Luigi Pirandello. Dalle riflessioni sullo spiritismo, e dalle esperienze mediatiche: di scrittura automatica, Capuana elabora la teoria dell’allucinazione artistica e proclama il principio di un’arte che crea personaggi vivi, capaci di agire nella realtà come esseri autonomi. Tra il 1904 e il 1915, il giovane Pirandello raccoglierà alcuni spunti di quelle riflessioni, com’è evidente ne Il Fu Mattia Pascal, per la scena della seduta spiritica, e soprattutto nel racconto Personaggi e poi in Sei personaggi in cerca d’autore. Il mistero della perce- zione sensibile è il nodo comune dei due scrittori siciliani che, alle soglie del Novecen- to, sembrano passarsi il testimone sulle domande relative al principio della duplicità dell’essere.
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46

De Vargas, Andrea Quilian, and Rosani Ketzer Umbach. "Imagens em Quaderni di Serafino Gubbio operatore: engano ou representação?" Terra Roxa e Outras Terras: Revista de Estudos Literários 32 (August 7, 2017): 21. http://dx.doi.org/10.5433/1678-2054.2016v32p21.

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Em Quaderni di Serafino Gubbio operatore, o escritor italiano Luigi Pirandello realiza uma crítica contundente ao cinema e à falsa imagem que a maquinaria moderna passou a captar, fixar, alterar e reproduzir. O olhar em perspectiva explorado no romance mostra a impossibilidade de representação da realidade por intermédio de uma imagem congelada que fixa um lugar e um momento delimitados. A ideia central expressa nos cadernos de Serafino é que há sempre algo além da imagem. Nosso objetivo com este estudo é verificar, na tessitura narrativa, de que forma Pirandello expõe sua desconfiança em relação àquilo que se vê, seja em uma foto, em uma tela de cinema ou em uma descrição literária.
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47

Giacobbe, Giuliana Antonella. "Adelaide Bernardini: polemiche e rivalità." Revista Internacional de Culturas y Literaturas, no. 23 (2020): 191–202. http://dx.doi.org/10.12795/ricl.2020.i23.14.

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Scrittrice di origini umbre oggi quasi sconosciuta, Adelaide Bernardini fu una delle protagoniste della letteratura italiana del XX secolo. La sua vita si vide coinvolta in diversi scandali e polemiche letterarie con autori molto famosi della letteratura italiana come Marinetti o Pirandello, che non le perdonarono il fatto di essere la moglie di Luigi Capuana e di dimostrare un carattere ribelle.
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48

Battaglia, Sveva. "'L’estraneo inseparabile da me''." SPONDE 1, no. 1 (July 27, 2022): 119–34. http://dx.doi.org/10.15291/sponde.3895.

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Il saggio introduce alcune caratteristiche e principi della comunicazione interculturale, evidenziando il cambio di paradigma che è insito in questa. In merito all’educazione letteraria, ne evidenzia la finalità di conoscenza di se stessi e del mondo per la crescita psicologica e relazionale. Infine propone un’analisi di Uno, nessuno e centomila di Luigi Pirandello, che unisce educazione letteraria e abilità relazionali proprie della competenza comunicativa interculturale.
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49

Lezza, Antonia. "Viviani and the others: Scarpetta, Pirandello, and Eduardo and Peppino De Filippo." Forum Italicum: A Journal of Italian Studies 48, no. 3 (September 4, 2014): 562–82. http://dx.doi.org/10.1177/0014585814542778.

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This article reconstructs Raffaele Viviani’s ties with some of the greatest representatives of 19th and 20th century Italian theater, dwelling in particular on his relationships with Scarpetta, Pirandello, and Eduardo and Peppino De Filippo. The tools for such an investigation are letters and theatrical reviews. In order to highlight Viviani’s relationship with the theatrical scene of his time and with the preceding dramaturgical tradition, the article illustrates Viviani’s close relationship with Luigi Pirandello. In the space of a 20-year period, Viviani performed and transposed into the Neapolitan dialect three of Pirandello’s plays: La patente (1924), Pensaci, Giacomino! (1933), and Bellavita (1943). The analysis of this relationship dwells not only on the novel and effective linguistic operation carried out by Viviani compared with the original texts (in the case of transpositions/rewritings), but also draws attention to the system of characters in Viviani’s theater that have a Pirandellian origin, such as Don Mario Augurio (from the play by the same name) and Giovanni Scardino ( Fuori l’autore). Moreover, the article examines Viviani’s interest in Eduardo Scarpetta; in 1940, Viviani staged Scarpetta’s indisputable masterpiece, Miseria e nobiltà. Finally, the article considers Viviani’s relationship with Eduardo and Peppino De Filippo. The unusual relationship Viviani had with Eduardo De Filippo, a kind of ‘relationship/non-relationship’ that had its basis in the different poetic choices of the two men, is analysed.
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50

Smith, Alison. "The Author and the Auteur: Jacques Rivette and Luigi Pirandello." Australian Journal of French Studies 47, no. 2 (May 2010): 184–95. http://dx.doi.org/10.3828/ajfs.47.2.184.

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