The Nobel Prize

Three plays that delve deep into the nature of theater, personhood, madness, and truth. They are extremely clever, as if Borges himself had penned them for the stage.

A few years ago, I read a novel by Pirandello and failed to truly appreciate it. However, after picking up these plays, I now have a much better understanding of what all the commotion is about.

The exploration of the nature of theater in these plays is fascinating. It blurs the lines between reality and fiction, making the audience question what is real and what is part of the performance.

The concept of personhood is also examined in a thought-provoking way. Characters struggle with their identities, wondering who they truly are and how they are perceived by others.

The theme of madness adds another layer of complexity. It forces us to consider whether what we consider sane or insane is really as clear-cut as we think.

Finally, the search for truth is a central thread throughout the plays. Characters grapple with the idea of what is true and how to find it in a world full of contradictions and uncertainties.

Overall, these plays offer a profound and engaging exploration of some of the most fundamental aspects of human existence and the art of theater.

Six lost and unfinished characters suddenly interrupt a play rehearsal. They beseech the theater manager to complete and perform their story.

The manager, astonished and irritated, turns to his actors. "If this fellow here hasn't got a nerve! A man who calls himself a character comes and asks me who I am!" he exclaims.

The Father, with dignity but not offended, replies, "A character, sir, may always ask a man who he is. Because a character has really a life of his own, marked with his especial characteristics; for which reason he is always'somebody.' But a man - I'm not speaking of you now - may very well be 'nobody.'"

The manager retorts, "Yes, but you are asking these questions of me, the boss, the manager! Do you understand?"

The Father continues, "But only in order to know if you, as you really are now, see yourself as you once were with all the illusions that were yours then, with all the things both inside and outside of you as they seemed to you - as they were then indeed for you. Well, sir, if you think of all those illusions that mean nothing to you now, of all those things which don't even seem to you to exist any more, while once they were for you, don't you feel that - I won't say these boards - but the very earth under your feet is sinking away from you when you reflect that in the same way this you as you feel it today - all this present reality of yours - is fated to seem a mere illusion to you tomorrow?"

The manager, without having understood much but astonished by the specious argument, says, "Well, well! And where does all this take us anyway?"

The Father responds, "Oh nowhere! It's only to show you that if we [indicating the CHARACTERS] have no other reality beyond the illusion, you too must not count overmuch on your reality as you feel it today, since, like that of yesterday, it may prove an illusion for you tomorrow."

The manager, determining to make fun of him, says, "Ah, excellent! Then you'll be saying next that you, with this comedy of yours that you brought here to act, are truer and more real than I am."

The Father, with the greatest seriousness, replies, "But of course; without doubt.... If your reality can change from one day to another...."

The manager says, "But everyone knows it can change. It is always changing, the same as anyone else's."

The Father cries out, "No, sir, not ours! Look here! That is the very difference! Our reality doesn't change: it can't change! It can't be other than what it is, because it is already fixed for ever. It's terrible. Ours is an immutable reality which should make you shudder when you approach us if you are really conscious of the fact that your reality is a mere transitory and fleeting illusion, taking this form today and that tomorrow, according to the conditions, according to your will, your sentiments, which in turn are controlled by an intellect that shows them to you today in one manner and tomorrow... who knows how?...Illusions of reality represented in this fatuous comedy of life that never ends, nor can ever end! Because if tomorrow it were to end... then why, all would be finished."

The manager exclaims, "Oh for God's sake, will you at least finish with this philosophizing and let us try and shape this comedy...?"

It was a truly bad plan to start this.

The reason being that I simply don't possess the time to read it.

I can understand and appreciate that it must have appeared shocking when it was first performed.

However, as of now, it seems rather dated to me.

Perhaps if I had more time on my hands, I might be able to look at it from a different perspective and find more value in it.

But with my current schedule, it's just not possible.

I feel a bit disappointed that I can't give it the attention it perhaps deserves.

Maybe in the future, when things slow down a bit, I'll revisit this and see if my opinion has changed.

For now, though, I have to accept that it's just not the right time for me to engage with this particular piece.

Pirandello is indeed the stage precursor of Charlie Kaufman. His works are not only interesting and smart but also playfully explore various profound questions such as those regarding performance and authenticity, reason and madness, and so on. He delves deep into the human psyche and the nature of existence through his unique theatrical expressions.

However, the only drawback, in my opinion, is that I never truly liked any of the characters in his plays. This leads to an interesting question: Is this my fault for not being able to connect with them on an emotional level? Or does it suggest that while Pirandello has a brilliant and innovative mind, perhaps his ability to create truly likable and relatable characters is underdeveloped? Maybe he was more focused on presenting complex ideas and themes rather than on crafting endearing characters. It makes one wonder about the balance between intellectual exploration and emotional engagement in his works.

The works in question are quite good, yet they are utterly bizarre.

To such an extent that when one reads them and tries to follow the unfolding events, it can become a little tedious.

I have a particular fondness for ‘Enrico IV’. However, the absolute best among them is certainly ‘La Giara’.

This piece is about a man who finds himself stuck in a jar. It's a great pity that it's the only one of the three that I don't get the opportunity to study.

It makes me wonder what deeper insights and interpretations I could have gained if I had been able to explore it further.

Nonetheless, the other two works also have their own unique charm and qualities that make them worth reading and considering.

Perhaps in the future, I will have the chance to come back to ‘La Giara’ and uncover its hidden treasures.

Until then, I will continue to appreciate the strange and wonderful world of these literary works.

I read this in the late 70's when chemical assistance was routine.

It was truly a wacky time. Chemicals were being used extensively in various aspects of life, almost as if they were the go-to solution for everything.

People seemed to believe that with the help of these chemicals, they could achieve greater efficiency and solve all kinds of problems.

However, looking back now, we can see that there were many potential risks and negative consequences associated with this over-reliance on chemical assistance.

Perhaps it was a sign of the times, a period when innovation and progress were highly valued, even if it meant taking some risks.

Nevertheless, it serves as a reminder to us today to be more cautious and consider the long-term effects of our actions and the technologies we embrace.

We should strive to find a balance between using modern advancements and protecting our environment and our own well-being.