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This essay is concerned with the metatheatrical aspects of Luigi Pirandello's Six Ooraaers in Search of an Author which is the first play in the "Theatre in the theatre trilogy." Pirandello in the play shows a six-member family(the characters) visiting a theatre in which a group of actors and actresses are rehearsing a play on the stage. The characters get on the stage without even asking permission and demand the director of the company to stage their life story insted of the play they are rehearsing at the moment. They introduce the㎳elves characters who have been born but have not yet been immortalized by being written into a work of literature.
The theatre people flatly refuse to listen to them and ask them to leave so that they may resume their rehearsal. But by the end of the first section of the play the director finds their life story fascinating and decides to stage it. In the process of rehearsing the characters! life story both the characters and the theatre people do not find it an easy task The conventional idea of mimesis that art is the imitation of life does not apply in the case of the dramatization of the characters' life. The actors state that the stage is the actors' space, and try to enact the characters' life as they see it played by the characters. The problem is that the characters can never identify with the characters playing them, neither in external appearance nor in acting.
Some of the themes that I discuss here are 1) the question of theatre as progressive process; 2) theater within a theatre(play-within-a-play); 3) (meta)mimesis; 4) the inclusion of author and audience in the sapce of dramatic art. There are some elements in the characters' life story which makes it unfit for the stage: incest, violence, child suicide by gun, child drowning, prostitution. The director refuses to put such things on the stage but the characters would not negotiate with him about what is stageable and what is unstageable simply because they are all what happened in their life. The conclusion that the director reaches at the end of the rehearsal he had with the characters for a couple of hours is that the characters' life story is unstageable. The characters now have to visit another theatre to ask for the same thing.
The theatre people flatly refuse to listen to them and ask them to leave so that they may resume their rehearsal. But by the end of the first section of the play the director finds their life story fascinating and decides to stage it. In the process of rehearsing the characters! life story both the characters and the theatre people do not find it an easy task The conventional idea of mimesis that art is the imitation of life does not apply in the case of the dramatization of the characters' life. The actors state that the stage is the actors' space, and try to enact the characters' life as they see it played by the characters. The problem is that the characters can never identify with the characters playing them, neither in external appearance nor in acting.
Some of the themes that I discuss here are 1) the question of theatre as progressive process; 2) theater within a theatre(play-within-a-play); 3) (meta)mimesis; 4) the inclusion of author and audience in the sapce of dramatic art. There are some elements in the characters' life story which makes it unfit for the stage: incest, violence, child suicide by gun, child drowning, prostitution. The director refuses to put such things on the stage but the characters would not negotiate with him about what is stageable and what is unstageable simply because they are all what happened in their life. The conclusion that the director reaches at the end of the rehearsal he had with the characters for a couple of hours is that the characters' life story is unstageable. The characters now have to visit another theatre to ask for the same thing.
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UCI(KEPA) : I410-ECN-0101-2012-705-003655737