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Six Characters in Search of an Author (Signet Classics)

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Luigi Pirandello's "Six Characters in Search of an Author" premiered in Rome in 1921 to audience shouts of "Maricomio!" ("Madhouse!"). Perhaps few of the theatregoers realized that the "madhouse" they had witnessed was a watershed in the history of drama. While many of the innovations of "Six Characters" may now seem commonplace, Pirandello's innovative, iconoclastic masterpiece marked a break from traditional dramatic structures and stage settings, a break which enabled twentieth century drama to develop along self-reflective imaginative lines much different than its predecessors. As Eric Bentley, the play's translator, notes in his introduction to this edition, "this was the first play ever written in which the boards of the theatre did not symbolize and represent some other place, some other reality."

"Six Characters" is set in a theatre where a director, his stage manager and a group of actors are about to rehearse another of Pirandello's plays, "The Rules of the Game". The curtain is up, the stage is empty of props and background, and the lights illuminate the bare wall at the back of the stage. It is an austere setting, a kind of theatrical analogue to the blank sheet of paper an author faces each day he sits down to write.

Suddenly, this austerity, this mundane theatrical rehearsal, is interrupted by the unexpected arrival of six characters--a father, a mother, a son, a stepdaughter, a boy, and a little girl. They are six characters who have lives, who have stories to tell, but whose dramatic text has not been written. They need an author. As Pirandello says in his 1925 introduction to the play: "Every creature of fantasy and art, in order to exist, must have his drama, that is, a drama in which he may be a character and for which he is a character. This drama is the character's raison d'etre, his vital function, necessary for his existence."

The play proceeds, with the six characters relating fragmentary scenes of incidents in their lives, scenes which are accompanied by commentary, quarrels, dialogue, and interaction among the characters and between the characters and the actors. A kind of theatrical hall of mirrors, the actors who view these characters become, in effect, an audience. The actors are also, however, the actors who will be called upon to play the parts of the six characters in the dramatic text which is being created in their presence. For these actors and these characters, the stage becomes more real than the world.

"Six Characters in Search of an Author" is a remarkable work of imagination, both in its structure and its dialogue. It is comic and absurd, tragic and ponderous. The play is a work of original genius; the text (like its characters) is open to multiple interpretations and meanings. As one character says, in an appropriate Pirandellian bit of dialogue: "[t]herein lies the drama . . . in my awareness that each of us thinks of himself as one but that, well, it's not true, each of us is many, oh so many, according to the possibilities that are in us."

I highly recommend the Signet Classics edition of this play, translated by Eric Bentley. He provides a wonderful opening essay, as well as Pirandello's own forward.

The plot, I'm sure you know, involves six characters who stumble upon a theater rehearsal. They are not so much looking for an author as a play in which to exist. Pirandello breaks the fourth wall as no other author had before him. It is a very daring and original piece. A must for any serious student of drama.

Pirandello blurs the lines between illision and reality. He questions the traditional mind set of theatre and allows for the "Characters" to become more real with there illisons then the actors. A groundbreaking play that set the example for many other abusurdist in the field. An excellent performance piece.

"Six Characters in Search of an Author," by Luigi Pirandello, is a really remarkable work of drama. The English version by Eric Bentley is published as a Signet Classic. The translator's introduction notes that the play premiered in Rome in 1921.

In "Six Characters," a dysfunctional family confronts a theater director and his whole company. They challenge the director to turn their story into a play--a "painful drama."

This richly ironic play deals with many issues: the relationship between life and literature; the limitation of words as tools of communication; sexual transgression; authority and art; secrecy and shame; the fractured, shifting nature of personal identity; the relationship between an author and the characters he/she creates; and more.

This is truly a play of ideas; it's a constantly shifting intellectual house of mirrors. But Pirandello never loses sight of the emotional issues of human shame, pain, and interpersonal alienation. The play is full of great lines; my favorite is spoken by the director: "There's no author here at all."

It's amazing to think that (at the time of this review) this play is more than 80 years old. When I look at the contours of popular culture in the decades since this play premiered in Rome, it seems that Pirandello was as much a cultural prophet as he was a literary genius. "Six Characters" seems to prefigure such phenomena as reality TV shows (like "An American Family" or MTV's "The Real World") and films which explore the shadowy line between fiction and reality (like "The Blair Witch Project" or "Scream 3"). After all these decades, "Six Characters" remains a fresh, compelling, and relevant theatrical masterpiece.

Luigi Pirandello's "Six Characters in Search of an Author" premiered in Rome in 1921 to audience shouts of "Maricomio!" ("Madhouse!"). Perhaps few of the theatregoers realized that the "madhouse" they had witnessed was a watershed in the history of drama. While many of the innovations of "Six Characters" may now seem commonplace, Pirandello's innovative, iconoclastic masterpiece marked a break from traditional dramatic structures and stage settings, a break which enabled twentieth century drama to develop along self-reflective imaginative lines much different than its predecessors. As Eric Bentley, the play's translator, notes in his introduction to this edition, "this was the first play ever written in which the boards of the theatre did not symbolize and represent some other place, some other reality."

"Six Characters" is set in a theatre where a director, his stage manager and a group of actors are about to rehearse another of Pirandello's plays, "The Rules of the Game". The curtain is up, the stage is empty of props and background, and the lights illuminate the bare wall at the back of the stage. It is an austere setting, a kind of theatrical analogue to the blank sheet of paper an author faces each day he sits down to write.

Suddenly, this austerity, this mundane theatrical rehearsal, is interrupted by the unexpected arrival of six characters--a father, a mother, a son, a stepdaughter, a boy, and a little girl. They are six characters who have lives, who have stories to tell, but whose dramatic text has not been written. They need an author. As Pirandello says in his 1925 introduction to the play: "Every creature of fantasy and art, in order to exist, must have his drama, that is, a drama in which he may be a character and for which he is a character. This drama is the character's raison d'etre, his vital function, necessary for his existence."

The play proceeds, with the six characters relating fragmentary scenes of incidents in their lives, scenes which are accompanied by commentary, quarrels, dialogue, and interaction among the characters and between the characters and the actors. A kind of theatrical hall of mirrors, the actors who view these characters become, in effect, an audience. The actors are also, however, the actors who will be called upon to play the parts of the six characters in the dramatic text which is being created in their presence. For these actors and these characters, the stage becomes more real than the world.

"Six Characters in Search of an Author" is a remarkable work of imagination, both in its structure and its dialogue. It is comic and absurd, tragic and ponderous. The play is a work of original genius; the text (like its characters) is open to multiple interpretations and meanings. As one character says, in an appropriate Pirandellian bit of dialogue: "[t]herein lies the drama . . . in my awareness that each of us thinks of himself as one but that, well, it's not true, each of us is many, oh so many, according to the possibilities that are in us."

We're all familiar with the dramatic device of the "play within a play" from Shakespeare (for instance, the device is used in Hamlet). But Nobel Laureate Luigi Pirandello had a specific use for the concept; he wanted to demonstrate the fine line that separates reality and fiction. He did so most famously in the play Six Characters in Search of an Author.

The play opens with a theater company getting ready to begin a rehearsal. As the director tries to bring some order to the proceedings, six people walk in off of the street looking for an author. They want someone to dramatize their sordid true life story. The tale that they unfold is in fact so melodramatic that the director has his troupe start acting out the six characters and repeating their lines. Meanwhile, the six quibble with the actors' interpretations and with the reproduced dialogue and even argue with the director over whether it is possible or appropriate for anyone other than the six to play themselves.

The premise and structure of the play are amusing and thought provoking. One can only imagine how Pirandello would react to the permutations we see spun out today with reality tv and instant tv movies based on real events, even those we've all just witnessed on live tv like the OJ trial. In fact, just recently on the X-Files, Scully and Mulder were working with a police force which was being filmed for the live action show COPS. Fictional characters pretending to be on a "real" show, but the players on the "real" show are fictional for this episode... He would have loved it. But ultimately the actual content of this play seems to be totally superfluous. The ingenious set up is the whole point and so it ends up resembling one of those Saturday Night Live skits that doesn't know when enough is enough. It all makes for an interesting thought experiment but a somewhat tedious, though blessedly brief, drama.

GRADE: C+

I could give this one as easily as five. It's a little hard to describe. Basically the characters this writer thought up start tormenting him & don't make it to a real book or play. Part of their story is the dad going to a brothel & getting assigned to his daughter. Pirandello thought characters were more "real" then people because they had a constant reality without discontuinity. I think he became a fascist so that explains ,& maybe justifies, the obscurity perhaps. Despite what some say their have been a fair amount of right wing nuts among the literati artsy crowd.