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Don Lol Zirafa, il protagonista della vicenda, un proprietario terriero ricco e taccagno, che ovunque vede nemici che vogliono depredarlo della sua roba e che, essendo di carattere piuttosto litigioso, non perde occasione di citare in giudizio i suoi presunti avversari, spendendo una fortuna in liti e facendo spesso perdere la pazienza al suo avvocato che non vede l'ora di toglierselo di torno. Dopo l'acquisto di una enorme giara per conservare l'olio della nuova raccolta, accade un fatto strano: per ragioni misteriose il grosso recipiente viene ritrovato, da nuovo di zecca, perfettamente spaccato in due, fatto questo che fa montare Zirafa su tutte le furie.

Originally published in Italian in 1915, "Shoot!" is one of the first novels to take as its subject the heady world of early motion pictures. Based on the absurdist journals of fictional Italian camera operator Serafino Gubbio, "Shoot!" documents the infancy of film in Europe - complete with proto-divas, laughable production schedules, and cost-cutting measures with priceless effects - and offers a glimpse of the modern world through the camera's lens. "Shoot!", presented here in its 1927 English translation, is a classic example of Nobel Prize - winning Sicilian playwright Luigi Pirandello's (1867-1936) literary talent and genius for blurring the line between art and reality. From the film studio Kosmograph, Pirandello's Gubbio steadily winds the crank of his camera by day and scribbles with his pen by night, revealing the world, both mundane and melodramatic, that unfolds in front of his camera. Through Gubbio's narrative - saturated with fantasy and folly - Pirandello grapples with the philosophical implications of modernity. Like much of Pirandello's work, "Shoot!" parodies human weaknesses, drawing attention to the themes of isolation and madness as emerging tendencies in the modern world. Enhanced by new critical commentaries, "Shoot!" is an entertaining caricature, capturing early twentieth-century Italian filmmaking and revealing its truths as only a parody can.

Originally published in Italian in 1915, "Shoot!" is one of the first novels to take as its subject the heady world of early motion pictures. Based on the absurdist journals of fictional Italian camera operator Serafino Gubbio, "Shoot!" documents the infancy of film in Europe - complete with proto-divas, laughable production schedules, and cost-cutting measures with priceless effects - and offers a glimpse of the modern world through the camera's lens. "Shoot!", presented here in its 1927 English translation, is a classic example of Nobel Prize - winning Sicilian playwright Luigi Pirandello's (1867-1936) literary talent and genius for blurring the line between art and reality. From the film studio Kosmograph, Pirandello's Gubbio steadily winds the crank of his camera by day and scribbles with his pen by night, revealing the world, both mundane and melodramatic, that unfolds in front of his camera. Through Gubbio's narrative - saturated with fantasy and folly - Pirandello grapples with the philosophical implications of modernity. Like much of Pirandello's work, "Shoot!" parodies human weaknesses, drawing attention to the themes of isolation and madness as emerging tendencies in the modern world. Enhanced by new critical commentaries, "Shoot!" is an entertaining caricature, capturing early twentieth-century Italian filmmaking and revealing its truths as only a parody can.

Don Lol Zirafa, il protagonista della vicenda, un proprietario terriero ricco e taccagno, che ovunque vede nemici che vogliono depredarlo della sua roba e che, essendo di carattere piuttosto litigioso, non perde occasione di citare in giudizio i suoi presunti avversari, spendendo una fortuna in liti e facendo spesso perdere la pazienza al suo avvocato che non vede l'ora di toglierselo di torno. Dopo l'acquisto di una enorme giara per conservare l'olio della nuova raccolta, accade un fatto strano: per ragioni misteriose il grosso recipiente viene ritrovato, da nuovo di zecca, perfettamente spaccato in due, fatto questo che fa montare Zirafa su tutte le furie.

A young wife in a nineteenth-century Sicilian village, Marta is deeply in love with her husband Rocco and pregnant with his child. But when Rocco discovers a letter written to Marta by a would-be suitor, he falsely accuses her of infidelity and banishes her from their home. Soon the whole village turns against the supposed adulteress, setting in motion a series of tragic events that culminates in the loss of Marta’s family home and business, as well as the deaths of her father and newborn child.Plunged into poverty and treated as a social leper, with practically nothing else to lose, Marta is determined to claw her way back into a society bent on excluding her. The Outcast is an early masterwork from Nobel Prize–winning Italian author Luigi Pirandello that combines elements of Zolaesque naturalism with emerging modernist aesthetics. This fresh English translation, the first in nearly one hundred years, showcases Pirandello’s deft play with language and his use of irony. This book was translated thanks to a grant awarded by the Italian Ministry of Foreign Affairs and International Cooperation.

A young wife in a nineteenth-century Sicilian village, Marta is deeply in love with her husband Rocco and pregnant with his child. But when Rocco discovers a letter written to Marta by a would-be suitor, he falsely accuses her of infidelity and banishes her from their home. Soon the whole village turns against the supposed adulteress, setting in motion a series of tragic events that culminates in the loss of Marta’s family home and business, as well as the deaths of her father and newborn child.Plunged into poverty and treated as a social leper, with practically nothing else to lose, Marta is determined to claw her way back into a society bent on excluding her. The Outcast is an early masterwork from Nobel Prize–winning Italian author Luigi Pirandello that combines elements of Zolaesque naturalism with emerging modernist aesthetics. This fresh English translation, the first in nearly one hundred years, showcases Pirandello’s deft play with language and his use of irony. This book was translated thanks to a grant awarded by the Italian Ministry of Foreign Affairs and International Cooperation.

LUIGI PIRANDELLO (1867-1936) drammaturgo, scrittore e poeta italiano, insignito del Premio Nobel per la letteratura nel 1934, precorre le esperienze libertarie della letteratura novecentesca dei primi trent anni. La sua narrazione in romanzi e novelle fu intesa soltanto dopo la clamorosa fortuna del suo teatro. Il suo primo grande successo fu merito del romanzo Il fu Mattia Pascal. Il libro fu pubblicato nel 1904 e subito tradotto in diverse lingue. Pirandello era attento ai casi effimeri e a quelli straordinari di una giornata: la memoria dell isola nativa era popolata di caracteri, di vicende, di paesi, di sogni que entravano a comporre i profili del mondo e contavano assai pi delle aggrovigliate teorie in cui l autore cercava piuttosto di renderli incomprensibili che non significante. Luigi Pirandello vive nell ansia stessa di quei prometeici diluiti che in una concezione determinata vogliono togliere all uomo la responsabilit dell umano. Tolta all uomo la sua continuit umana, non resta che il puro arbitrio del fenomeno esistenziale. Pirandello non aveva mai preso specifiche posizioni politiche, tranne l'ammirazione per il patriottismo garibaldino di famiglia, unica certezza in un'epoca di crisi. L'idea politica di fondo di Pirandello era legata principalmente a questo patriottismo risorgimentale.

Ärzte, Professoren, Bauern, Beamte, einfache Leute: das sind die Protagonisten dieser Auswahl von Novellen aus dem erfolgreichen Werk "Novelle per un anno". Abenteuer und Missgeschicke, die sich vor dem Hintergrund der sizilianischen Realität zwischen Komödie und Tragödie abspielen. Der einzigartige und unverwechselbare Stil Pirandellos, der 1934 den Nobelpreis für Literatur erhielt, zeichnet das Leben seiner Protagonisten gekonnt mit viel Humor und einem Hauch von Bitterkeit.

En teaterdirektør og hans skuespillerensemble er i gang med prøverne til et skuespil, da der pludselig dukker seks uvedkommende personer op på teatret. De hævder at være personer fra et skuespil, der aldrig er blevet skrevet, og de har en - temmelig grum - historie, de gerne vil have fortalt, og søger derfor en forfatter til at skrive manuskriptet færdigt. Pirandellos skuespil fra 1921 er en af det tyvende århundredes helt store klassikere - en leg med teatret og teatrets leg med virkeligheden. Fil størrelse: 569 KB

After all, the "Moscarda" he believed himself to be was different when he was alone, or with his wife, his tenant, or his friends. And there were hundreds--no, thousands--of additional Moscardas in the minds of everyone who had met or heard of him. Moscarda grappled with this new knowledge: that he was not who he thought he was, nor who anyone else thought he was. And the people around him? They were not who he thought they were either. So he decided, in his own words, to "...find out who I was, at least to those closest to me, acquaintances so-called, and to amuse myself by maliciously decomposing the I that I was to them." What follows is a series of experiments, meant to befuddle and confuse those around him and prove that he was not, in fact, who they believed him to be. Written by Nobel Laureate Luigi Pirandello over the course of 15 years, One, None, and One Hundred Thousand was a groundbreaking look at the nature of identity and the self. Pirandello was no stranger to reinvention and loss of identity. Born into a well-to-do Sicilian family, he seemed destined to follow his father into business as a sulfur merchant. Instead, he spent his youth writing stories, and later excelled in literary studies. Pirandello's early writing and teaching at the Istituto Superiore di Magistero di Roma was sufficient to support himself, his wife, and his three children--supplemented by an allowance from his father and his wife's dowry. But in 1903, the family was ruined when the sulfur mines his father had invested in were flooded and destroyed. The family fortune was gone, including his wife's dowry. The news so shocked her that she suffered a complete mental collapse. In the aftermath, she suffered from hallucinations and anxieties that would follow her for the rest of her life. At first, with an ailing wife and no money, Pirandello contemplated suicide. Instead, he redoubled his efforts. He took on more teaching work and wrote at a furious pace. He would go on to write 7 novels, numerous short stories, poetry, and around 40 plays throughout his career. The issue of identity comes up again and again in Pirandello's work. In his play To Clothe the Naked, the protagonist tries to reinvent herself, with each subsequent identity stripped away from her by others. In The Life I Gave You, a mother is confronted with the truth that her long-lost son is not the person that she has created in her mind. In the end, she chooses to adhere to her fiction rather than face the facts about her son. In Six Characters in Search of an Author, Pirandello's most famous work, six unused and incomplete characters walk onto a stage and demand that a director and his actors tell their stories. But of course, the lines between reality and invention are blurred, getting more absurd as the play goes on. This play created such a stir on opening night in Rome that fighting broke out in the audience, forcing Pirandello to flee the theater with his daughter. Later that year, the same play...

Ärzte, Professoren, Bauern, Beamte, einfache Leute: das sind die Protagonisten dieser Auswahl von Novellen aus dem erfolgreichen Werk "Novelle per un anno". Abenteuer und Missgeschicke, die sich vor dem Hintergrund der sizilianischen Realität zwischen Komödie und Tragödie abspielen. Der einzigartige und unverwechselbare Stil Pirandellos, der 1934 den Nobelpreis für Literatur erhielt, zeichnet das Leben seiner Protagonisten gekonnt mit viel Humor und einem Hauch von Bitterkeit.

One, No One and One Hundred Thousand (Italian: Uno, nessuno e centomila) is a 1926 novel by the Italian writer Luigi Pirandello. The novel had a rather long and difficult period of gestation. Pirandello began writing it in 1909. In an autobiographical letter, published in 1924, the author refers to this work as the "...bitterest of all, profoundly humoristic, about the decomposition of life: Moscarda one, no one and one hundred thousand." The pages of the unfinished novel remained on Pirandello's desk for years and he would occasionally take out extracts and insert them into other works only to return, later, to the novel in a sort of uninterrupted compositive circle. Finally finished, Uno, Nessuno e Centomila came out in episodes between December 1925 and June 1926 in the magazine Fiera Letteraria. (wikipedia.org)

One, No One and One Hundred Thousand (Italian: Uno, nessuno e centomila) is a 1926 novel by the Italian writer Luigi Pirandello. The novel had a rather long and difficult period of gestation. Pirandello began writing it in 1909. In an autobiographical letter, published in 1924, the author refers to this work as the "...bitterest of all, profoundly humoristic, about the decomposition of life: Moscarda one, no one and one hundred thousand." The pages of the unfinished novel remained on Pirandello's desk for years and he would occasionally take out extracts and insert them into other works only to return, later, to the novel in a sort of uninterrupted compositive circle. Finally finished, Uno, Nessuno e Centomila came out in episodes between December 1925 and June 1926 in the magazine Fiera Letteraria. (wikipedia.org)

After all, the “Moscarda” he believed himself to be was different when he was alone, or with his wife, his tenant, or his friends. And there were hundreds—no, thousands—of additional Moscardas in the minds of everyone who had met or heard of him. Moscarda grappled with this new knowledge: that he was not who he thought he was, nor who anyone else thought he was. And the people around him? They were not who he thought they were either. So he decided, in his own words, to “...¿nd out who I was, at least to those closest to me, acquaintances so-called, and to amuse myself by maliciously decomposing the I that I was to them.” What follows is a series of experiments, meant to befuddle and confuse those around him and prove that he was not, in fact, who they believed him to be. Written by Nobel Laureate Luigi Pirandello over the course of 15 years, One, None, and One Hundred Thousand was a groundbreaking look at the nature of identity and the self. Pirandello was no stranger to reinvention and loss of identity. Born into a well-to-do Sicilian family, he seemed destined to follow his father into business as a sulfur merchant. Instead, he spent his youth writing stories, and later excelled in literary studies. Pirandello’s early writing and teaching at the Istituto Superiore di Magistero di Roma was sufficient to support himself, his wife, and his three children—supplemented by an allowance from his father and his wife’s dowry. But in 1903, the family was ruined when the sulfur mines his father had invested in were flooded and destroyed. The family fortune was gone, including his wife’s dowry. The news so shocked her that she suffered a complete mental collapse. In the aftermath, she suffered from hallucinations and anxieties that would follow her for the rest of her life. At first, with an ailing wife and no money, Pirandello contemplated suicide. Instead, he redoubled his efforts. He took on more teaching work and wrote at a furious pace. He would go on to write 7 novels, numerous short stories, poetry, and around 40 plays throughout his career. The issue of identity comes up again and again in Pirandello’s work. In his play To Clothe the Naked, the protagonist tries to reinvent herself, with each subsequent identity stripped away from her by others. In The Life I Gave You, a mother is confronted with the truth that her long-lost son is not the person that she has created in her mind. In the end, she chooses to adhere to her fiction rather than face the facts about her son. In Six Characters in Search of an Author, Pirandello’s most famous work, six unused and incomplete characters walk onto a stage and demand that a director and his actors tell their stories. But of course, the lines between reality and invention are blurred, getting more absurd as the play goes on. This play created such a stir on opening night in Rome that fighting broke out in the audience, forcing Pirandello to flee the theater with his daughter. Later that year, the same play...

In an autobiographical letter, the author refers to this work as the "...bitterest of all, profoundly humoristic, about the decomposition of life...."Vitangelo, the protagonist, discovers by way of a completely irrelevant question that his wife poses to him that everyone he knows, and everyone he has ever met, has constructed a Vitangelo personain their own imagination and that none of these personas corresponds to the image of Vitangelo that he himself has constructed and believes himself to be.The reader is immediately immersed in a cruel game of confusing projections, mirroring the reality of social existence itself, which imperiously dictate their rules.As a result, the first, ironic "awareness" of Vitangelo consists in the knowledge of that which he definitely is not; the preliminary operation must therefore consist in the spiteful destruction of all of these fictitious masks.

In an autobiographical letter, the author refers to this work as the "...bitterest of all, profoundly humoristic, about the decomposition of life...."Vitangelo, the protagonist, discovers by way of a completely irrelevant question that his wife poses to him that everyone he knows, and everyone he has ever met, has constructed a Vitangelo personain their own imagination and that none of these personas corresponds to the image of Vitangelo that he himself has constructed and believes himself to be.The reader is immediately immersed in a cruel game of confusing projections, mirroring the reality of social existence itself, which imperiously dictate their rules.As a result, the first, ironic "awareness" of Vitangelo consists in the knowledge of that which he definitely is not; the preliminary operation must therefore consist in the spiteful destruction of all of these fictitious masks.

Nobel prize-winning Luigi Pirandello's classic novel on the nature of identity brims with sly humor, compelling drama, and skillfully depicted, oddly modern characters-all capped with timeless insight into the fragile human psyche. Luigi Pirandello's extraordinary final novel begins when Vitangelo Moscarda's wife remarks that Vitangelo's nose tilts to the right. This commonplace interaction spurs the novel's unemployed, wealthy narrator to examine himself, the way he perceives others, and the ways that others perceive him. At first he only notices small differences in how he sees himself and how others do; but his self-examination quickly becomes relentless, dizzying, leading to often darkly comic results as Vitangelo decides that he must demolish that version of himself that others see.

LUIGI PIRANDELLO (1867-1936) drammaturgo, scrittore e poeta italiano, insignito del Premio Nobel per la letteratura nel 1934, precorre le esperienze libertarie della letteratura novecentesca dei primi trent anni. La sua narrazione in romanzi e novelle fu intesa soltanto dopo la clamorosa fortuna del suo teatro. Il suo primo grande successo fu merito del romanzo Il fu Mattia Pascal. Il libro fu pubblicato nel 1904 e subito tradotto in diverse lingue. Pirandello era attento ai casi effimeri e a quelli straordinari di una giornata: la memoria dell isola nativa era popolata di caracteri, di vicende, di paesi, di sogni que entravano a comporre i profili del mondo e contavano assai pi delle aggrovigliate teorie in cui l autore cercava piuttosto di renderli incomprensibili che non significante. Luigi Pirandello vive nell ansia stessa di quei prometeici diluiti che in una concezione determinata vogliono togliere all uomo la responsabilit dell umano. Tolta all uomo la sua continuit umana, non resta che il puro arbitrio del fenomeno esistenziale. Pirandello non aveva mai preso specifiche posizioni politiche, tranne l'ammirazione per il patriottismo garibaldino di famiglia, unica certezza in un'epoca di crisi. L'idea politica di fondo di Pirandello era legata principalmente a questo patriottismo risorgimentale.

After all, the “Moscarda” he believed himself to be was different when he was alone, or with his wife, his tenant, or his friends. And there were hundreds—no, thousands—of additional Moscardas in the minds of everyone who had met or heard of him. Moscarda grappled with this new knowledge: that he was not who he thought he was, nor who anyone else thought he was. And the people around him? They were not who he thought they were either. So he decided, in his own words, to “...¿nd out who I was, at least to those closest to me, acquaintances so-called, and to amuse myself by maliciously decomposing the I that I was to them.” What follows is a series of experiments, meant to befuddle and confuse those around him and prove that he was not, in fact, who they believed him to be. Written by Nobel Laureate Luigi Pirandello over the course of 15 years, One, None, and One Hundred Thousand was a groundbreaking look at the nature of identity and the self. Pirandello was no stranger to reinvention and loss of identity. Born into a well-to-do Sicilian family, he seemed destined to follow his father into business as a sulfur merchant. Instead, he spent his youth writing stories, and later excelled in literary studies. Pirandello’s early writing and teaching at the Istituto Superiore di Magistero di Roma was sufficient to support himself, his wife, and his three children—supplemented by an allowance from his father and his wife’s dowry. But in 1903, the family was ruined when the sulfur mines his father had invested in were flooded and destroyed. The family fortune was gone, including his wife’s dowry. The news so shocked her that she suffered a complete mental collapse. In the aftermath, she suffered from hallucinations and anxieties that would follow her for the rest of her life. At first, with an ailing wife and no money, Pirandello contemplated suicide. Instead, he redoubled his efforts. He took on more teaching work and wrote at a furious pace. He would go on to write 7 novels, numerous short stories, poetry, and around 40 plays throughout his career. The issue of identity comes up again and again in Pirandello’s work. In his play To Clothe the Naked, the protagonist tries to reinvent herself, with each subsequent identity stripped away from her by others. In The Life I Gave You, a mother is confronted with the truth that her long-lost son is not the person that she has created in her mind. In the end, she chooses to adhere to her fiction rather than face the facts about her son. In Six Characters in Search of an Author, Pirandello’s most famous work, six unused and incomplete characters walk onto a stage and demand that a director and his actors tell their stories. But of course, the lines between reality and invention are blurred, getting more absurd as the play goes on. This play created such a stir on opening night in Rome that fighting broke out in the audience, forcing Pirandello to flee the theater with his daughter. Later that year, the same play...

Nobel prize-winning Luigi Pirandello's classic novel on the nature of identity brims with sly humor, compelling drama, and skillfully depicted, oddly modern characters-all capped with timeless insight into the fragile human psyche. Luigi Pirandello's extraordinary final novel begins when Vitangelo Moscarda's wife remarks that Vitangelo's nose tilts to the right. This commonplace interaction spurs the novel's unemployed, wealthy narrator to examine himself, the way he perceives others, and the ways that others perceive him. At first he only notices small differences in how he sees himself and how others do; but his self-examination quickly becomes relentless, dizzying, leading to often darkly comic results as Vitangelo decides that he must demolish that version of himself that others see.