Luigi Pirandello
Andrea Liberovici
Andrea Liberovici
Ottavia Fusco
Adolfo Margiotta
Ivan Castiglione
Claudio Marchione
Samia Kassir
Federica Paolillo
Paolo Giacchero
Sylvia Aymonino
Giovanni Santolamazza
Teatro Stabile di Roma
Paolo Porto
I believe that Pirandello has always used the theatre and the writing for his private and personal search. To make painful and inconvenient questions, in the first person, it means, in my opinion, to search and therefore to choose, moment by moment, between growing up and becoming older. Compared to the "communication", much more in this historical moment, I think it's living this dialectic through two opposing roads: the entertainment, whose function is giving answers, often of some consolation, and the search that not rarely becomes art and that, like all the whole art, questions.
In I quaderni di Serafino Gubbio operatore Pirandello, as it happens in all his poetical works, overwhelms us with questions and intuitions that reveal themselves in some of the tragic answers that we live nowadays. There is all the distrust of the "machine" like element of conflict with the human sensitiveness of the real life (cine-camera that fixes and immobilizes the reality but also machine/mechanism as element of the modernization) and there is the continuous and exasperating idea that life "you can live it or write about it" or, in Serafino's case, life is filmed just cranking. We watch in fact Serafino, who is an author-operator at the beginning of last century, who speaks in first person through his diary about his existential experiences in the film production company, called "Kosmograph". His personages, as often happens in Pirandello, go to find the author Serafino out and they speak through him. They all live by the limit of melodrama, constantly in conflict with the fiction and the truth of their life. And by the intricate report on their relations, we are informed of the questions about life, men, and the contemporaneous time of Serafino (Pirandello?).
Serafino Gubbio is a short story that can be also read like metaphor of the art death in the civilization of machines and its scenic version, which I am working to, and I would like it to be just a sort of soliloquy with the participation of "virtual" ghosts, interpreted by actors and reproduced by machines. And it's here that Pirandello seems to me being, with all his reflections, to the centre of our present, in his constant and locked dialogue with the poetical "gestation", the fantasy, with the fiction and the reality of this period where the immaterial prevails.
What is our homely modem, which allows us to enter in net and to communicate through the fiction of a personage who from time to time we choose, if not a sort of medium between our reality and our imaginary?
The contemporary aspect of Pirandello, in my opinion, is just in having had the exact and previous knowledge of "virtual" that confuses and breaks up the natural rhythm of men by staging the reality show of his domestic life. Serafino, in fact, asks himself and asks us how much life we are disposed to throw away in order to appear, just for a moment, with the representation of ourselves, on a piece of white sheet, wandering away from life and from making new questions.