Three Plays: Six Characters in Search of an Author, Henry IV, The Mountain Giants (Oxford World's Classics) by Luigi Pirandello Page A
Authors: Luigi Pirandello
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the house of Leone Gala. A strange room, both dining-room and study.’
DIRECTOR [
turning to the
STAGE MANAGER ]. We’ll use the red set.
STAGE MANAGER [
noting it down on a piece of paper
]. The red one. Right.
PROMPTER [
still reading from the script
]. ‘Table ready laid and desk with books and papers. Bookshelves and china cabinets displaying precious ware. Exit rear leads to Leone’s bedroom. Side exit left for the kitchen. Main exit on the right.’
DIRECTOR [
standing up and pointing
]. So now pay attention. Main exit over there. Kitchen exit over here. [
Turning to the
ACTOR
who plays Socrates
] You enter and exit here. [
To the
STAGE MANAGER ]We’ll have the doorway at the rear and put up curtains. [
Sits down again
]
STAGE MANAGER [
noting it down
]. Right.
PROMPTER [
reading as before
]. ‘Scene One. Leone Gala, Guido Venanzi, Filippo known as Socrates.’ [
To the
DIRECTOR ] Do I have to read the stage directions as well?
DIRECTOR . Yes, yes. I’ve told you a hundred times.
PROMPTER [
reading
]. ‘As the curtain rises Leone Gala, wearing a chef’s hat and apron, is busy beating an egg in a bowl with a wooden spoon. Filippo, also dressed like a cook, is beating another egg. Guido Venanzi sits and listens.’
LEADING MAN [
to the
DIRECTOR ]. But look, do I really have to wear a chef’s hat?
DIRECTOR [
annoyed by the question
]. You certainly do. Since that’s what’s written there. [
Pointing to the script
]
LEADING MAN . Sorry, but it’s ridiculous!
DIRECTOR [
jumping up in a fury
]. Ridiculous! Ridiculous! What can I do about it if we don’t get any more good plays from France, so that we’re reduced to putting on stuff by Pirandello that you have to be super-clever to understand, plays that seem cut out to please nobody—not the actors, not the critics, not the public? [
The
ACTORS
laugh; he rises, goes right up to the
LEADING MAN
and shouts
] The chef’s hat, yessir! And beat those eggs! You think that beating eggs is all you’ll have to do? No such luck. You need to represent the shell of the egg you’re beating! [
The
ACTORS
laugh again and exchange ironic remarks
] Silence! And listen to me when I explain things. [
Turning to the
LEADING MAN
again
] Yes, sir, the shell: that’s to say the empty form of reason, without the content of instinct which is blind. You are reason and your wife is instinct in a play of fixed roles where you, by playing your part, are deliberately the puppet of yourself. * You understand?
LEADING MAN [
opening his arms
]. Not me.
DIRECTOR [
going back to his chair
]. Neither do I. Let’s get on with it. Anyway, you’ll love the way it ends up. [
In a friendlier tone
] Do me a favour, turn round a bit, almost facing the audience. Because otherwise, what with the obscurity of the dialogue and the fact thatyou can’t be heard, the whole thing falls apart. [
Clapping his hands again
] Attention, please, attention! Let’s get started.
PROMPTER . Sorry, boss, but do you mind if I put the cover back on the prompt box? There’s a bit of a draught.
DIRECTOR . Sure, sure, just do it!
In the meantime the
USHER ,
wearing his braided cap, has entered the auditorium; making his way down the aisle, he has come up to the stage to announce to the
DIRECTOR
the arrival of the
SIX CHARACTERS
who have also entered and are following some way behind, looking around, somewhat lost and bewildered
.
In the staging of this play all available means should be employed to ensure the crucial effect which is the avoidance of any confusion between the
SIX CHARACTERS
and the
ACTORS OF THE COMPANY .
The placing of the two groups, indicated by the stage directions, when the
CHARACTERS
climb onto the stage, will obviously come in useful here, as will a different colouring obtained by appropriate lighting. But the most effective and fitting means suggested here is the use of special masks for the
CHARACTERS
—masks of some material that does not lose its form with sweat
DIRECTOR [
turning to the
STAGE MANAGER ]. We’ll use the red set.
STAGE MANAGER [
noting it down on a piece of paper
]. The red one. Right.
PROMPTER [
still reading from the script
]. ‘Table ready laid and desk with books and papers. Bookshelves and china cabinets displaying precious ware. Exit rear leads to Leone’s bedroom. Side exit left for the kitchen. Main exit on the right.’
DIRECTOR [
standing up and pointing
]. So now pay attention. Main exit over there. Kitchen exit over here. [
Turning to the
ACTOR
who plays Socrates
] You enter and exit here. [
To the
STAGE MANAGER ]We’ll have the doorway at the rear and put up curtains. [
Sits down again
]
STAGE MANAGER [
noting it down
]. Right.
PROMPTER [
reading as before
]. ‘Scene One. Leone Gala, Guido Venanzi, Filippo known as Socrates.’ [
To the
DIRECTOR ] Do I have to read the stage directions as well?
DIRECTOR . Yes, yes. I’ve told you a hundred times.
PROMPTER [
reading
]. ‘As the curtain rises Leone Gala, wearing a chef’s hat and apron, is busy beating an egg in a bowl with a wooden spoon. Filippo, also dressed like a cook, is beating another egg. Guido Venanzi sits and listens.’
LEADING MAN [
to the
DIRECTOR ]. But look, do I really have to wear a chef’s hat?
DIRECTOR [
annoyed by the question
]. You certainly do. Since that’s what’s written there. [
Pointing to the script
]
LEADING MAN . Sorry, but it’s ridiculous!
DIRECTOR [
jumping up in a fury
]. Ridiculous! Ridiculous! What can I do about it if we don’t get any more good plays from France, so that we’re reduced to putting on stuff by Pirandello that you have to be super-clever to understand, plays that seem cut out to please nobody—not the actors, not the critics, not the public? [
The
ACTORS
laugh; he rises, goes right up to the
LEADING MAN
and shouts
] The chef’s hat, yessir! And beat those eggs! You think that beating eggs is all you’ll have to do? No such luck. You need to represent the shell of the egg you’re beating! [
The
ACTORS
laugh again and exchange ironic remarks
] Silence! And listen to me when I explain things. [
Turning to the
LEADING MAN
again
] Yes, sir, the shell: that’s to say the empty form of reason, without the content of instinct which is blind. You are reason and your wife is instinct in a play of fixed roles where you, by playing your part, are deliberately the puppet of yourself. * You understand?
LEADING MAN [
opening his arms
]. Not me.
DIRECTOR [
going back to his chair
]. Neither do I. Let’s get on with it. Anyway, you’ll love the way it ends up. [
In a friendlier tone
] Do me a favour, turn round a bit, almost facing the audience. Because otherwise, what with the obscurity of the dialogue and the fact thatyou can’t be heard, the whole thing falls apart. [
Clapping his hands again
] Attention, please, attention! Let’s get started.
PROMPTER . Sorry, boss, but do you mind if I put the cover back on the prompt box? There’s a bit of a draught.
DIRECTOR . Sure, sure, just do it!
In the meantime the
USHER ,
wearing his braided cap, has entered the auditorium; making his way down the aisle, he has come up to the stage to announce to the
DIRECTOR
the arrival of the
SIX CHARACTERS
who have also entered and are following some way behind, looking around, somewhat lost and bewildered
.
In the staging of this play all available means should be employed to ensure the crucial effect which is the avoidance of any confusion between the
SIX CHARACTERS
and the
ACTORS OF THE COMPANY .
The placing of the two groups, indicated by the stage directions, when the
CHARACTERS
climb onto the stage, will obviously come in useful here, as will a different colouring obtained by appropriate lighting. But the most effective and fitting means suggested here is the use of special masks for the
CHARACTERS
—masks of some material that does not lose its form with sweat
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