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| | Three Plays, L. Pirandello, 1922 |
 | | The object of Pirandello's hitter irony is not the stage-manager, nor the theatrical producer, nor even the dramatic critic: it is the dramatist; it is the artist; it is, in the end, life itself. |
 | | Pirandello, approaching the sixties, to be sure, is nevertheless in spirit a man of the younger Italian generation, which, trained by Croce and Gentile, has "learned how to think." But however great his delight in playing with "actual idealism," he knows the difference between a drama and a philosophical dissertation. |
 | | It is typical of Pirandello for its rapidity, its harshness and its violence -- the skill with which the tense tableau is drawn out of pure dialectic, pure "conversation." Moreover, it states a fundamental preoccupation of Pirandello in peculiarly lucid and striking fashion. |
| www.eldritchpress.org /lp/lp3.htm (1290 words) |
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