This Hence he allowed one of his

play by Luigi Pirandello is a play
that focuses on its own fictional status as a theatrical pretence. The play was
originally written in Italian with three acts and was published in the year
1921 and Edward Storer later translated it into English. This drama is an
absurdist metatheatrical one. With the creation of this play, Pirandello as a
playwright had taken away the traditional methods of theatrical performances.

play represents the arrival of six characters in search of an author. The sudden
coming of the characters created a great stir among the audience. The actors
include the Father, the Mother, the Son, the step-daughter, the Boy and the
Child. On the stage a rehearsal of the Pirandello’s Mixing It Up was going to take place when they came. This drama is
a kind of play inside a play. The characters referred their drama as something
cannot be enacted on the conventional theatre. Considering the dialogues of the
characters we can understand that their main concern is theatre and
acknowledging the theatrical situation. This often reveals the metadramatic
exploration of the nature of the theatre.

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reading the text we can connect this play to a modernistic one. The play tries
to explore the idea of ‘before’ and ‘after’ rather than
exposition-development-resolution. Some elements of realism can be traced out
from the play. In a sense we can say there occurs a conflict between illusion
and reality.

association between the author (creator) and the characters (created) is
clearly portrayed in this play. The six characters were abandoned by their
creator, at this point they felt disappointed. However, they go in search of
another author who will be able to accomplish their wishes. This situation
throws light into the relation between creator and the created. Moreover, the
authorial betrayal does not make them as victims since they can be realized by
an another author. As far as Pirandello is concerned, the actors need to be
recognized by their author. Hence he allowed one of his characters to say that
one must have luck to be born as a character in a play. Regarding the earlier
characters of other plays their roles are passive, give way to the author. They
believed that whatever the author has done will be in favour of the plot and
them. In this drama, the manager agreed to stage the characters’ drama and was
supposed to put the props. The stepdaughter criticized the manager for standing
in favour of the author.

most modern contexts, characters are in want of recognition and they show their
responses too. They are also ready to point out their objection against
authorial upper hand. Their inclination to freedom leads to estrangement and

a way the play is self-reflexive as it openly showcases the processes behind
the artful composition. The concept of ‘absurdity’ in the drama made it to
stand by its own. The manager in the play divides the drama into acts to the
stepdaughter and the Father. A play inside a play, is to give way to many
illusions through the actions. It aids in the recognition of elements like comic
themes, absurdity, strangeness. The idea of foregrounding is also employed in
this work. The discussion on theatre and theatrical aspects is a better way to
enact the lived emotions of the characters which adds to the credo of the play.
So it is said to be a ‘meta-theatre’.

play at large focuses on the absurdity and many aspects of life. Meaningless actions
and irrational dialogues makes no significance to the comprehension of the
viewers, however theater of absurd is full of that. The titular characters in
the play have no names and they are addressed according to their positions in
the family. As characters they believe that their existence is only for the
sake of the drama and even claim as they are live characters.