New PDF release: Pirandellism and Samuel Beckett's Plays (Scripta

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Extra resources for Pirandellism and Samuel Beckett's Plays (Scripta Humanistica, Volume 48)

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1 See Pirandello, On Humor, trans. Antonio Illiano, and Daniel Testa (Chapel Hill: The University of North Carolina Press, 1960) 131-32. Subsequent citations of this book will be identified by title and page number immediately following the text. 2 Linda Ben-Zvi, Samuel Beckett (Boston: Twayne Publishers, A División of G. K. Hall and Co, 1986) 24. 23 Beckett implies that people have the capacity of changing the images of past actions in their minds. "3 Because of the flux that characterizes the individual self, Beckett recognizes only "the world of our latent consciousness" as the world that has "reality and significance" (Proust, 13).

On their own, the actors quickly shift masks (character roles) transforming themselves from one character to another. This theatrical arrangement can and does créate confusión for the audience and then the playwright suggests that there is no easy way of interpreting or identifying a fleeting, illusory personality. An important consideration in Pirandello's depiction of character is the fact that unlike Beckett whose characters are citizens of the universe embodying the metaphysical concerns of all humanity, Pirandello's characters can be us, but more importantly, they are, oddly enough, also products and subjects of a defined geographical and social milieu.

And consequently, we are] no longer what we are before the calamity of yesterday" (Proust, 13). In this essay, Beckett reechoes what appears to be his firm belief—that we are "victims and prisoners" (Proust, 12-13) of an insensitive phenonomon—Time—which continuously deforms us. In Pirandello's postúlate, man has the tendency to be in multiple forms because he wants to change or cheat his reality. " 1 See Pirandello, On Humor, trans. Antonio Illiano, and Daniel Testa (Chapel Hill: The University of North Carolina Press, 1960) 131-32.

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