Luigi Pirandello - Six characters in search of an author

[Lo straniero, conversazione alla finestra,1930, F. Casorati]

The spectators will find the curtain raised and the stageas it usually is during the day time. It will be halfdark, and empty, so that from the beginning the publicmay have the impression of an impromptu performance.Prompter's box and a small table and chair for themanager.

Two other small tables and several chairs scatteredabout as during rehearsals.

The ACTORS and ACTRESSES of the company enter fromthe back of the stage:first one, then another, then two together; nine or ten in all. They are about to rehearse a Pirandello play: Mixingit Up. [Il giuoco delle parti.]Some of the company move off towards theirdressing rooms. The PROMPTER who has the "book" underhis arm, is waiting for the manager in order to begin therehearsal.

The ACTORS and ACTRESSES , some standing, some sitting, chat and smoke. One perhaps reads a paper; anothercons his part.

Finally, the MANAGER enters and goes to the table prepared for him. His SECRETARY brings him his mail,through which he glances. The PROMPTER takes his seat,turns on a light, and opens the "book."

The Manager [throwing a letter down on the table].I can't see [To PROPERTY MAN .] Let's have a little light,please!

Property Man. Yes sir, yes, at once. [A light comesdown on to the stage.]

The Manager [clapping his hands]. Come along!Come along! Second act of "Mixing It Up." [Sits down.][The ACTORS and ACTRESSES go from the front of thestage to the wings, all except the three who are tobegin the rehearsal.]

The Prompter [reading the "book"]. "Leo Gala'shouse. A curious room serving as dining-room and study."

The Manager [to PROPERTY MAN ]. Fix up the oldred room.

Property Man [noting it down]. Red set. All right!

The Prompter [continuing to read from the "book"]."Table already laid and writing desk with books andpapers. Book-shelves. Exit rear to Leo's bedroom. Exitleft to kitchen. Principal exit to right."

The Manager [energetically]. Well, you understand:The principal exit over there; here, the kitchen. [Turningto actor who is to play the part of SOCRATES.] You makeyour entrances and exits here. [To PROPERTY MAN .] Thebaize doors at the rear, and curtains.

Property Man [noting it down]. Right!

Prompter [reading as before]. "When the curtainrises, Leo Gala, dressed in cook's cap and apron is busybeating an egg in a cup. Philip, also dresesd as a cook, isbeating another egg. Guido Venanzi is seated and listening."

Leading Man [To MANAGER ]. Excuse me, but must Iabsolutely wear a cook's cap?

The Manager [annoyed]. I imagine so. It says so thereanyway. [Pointing to the "book."]

Leading Man. But it's ridiculous!

The Manager [jumping up in a rage]. Ridiculous?Ridiculous? Is it my fault if France won't send us anysnore good comedies, and we are reduced to putting onPirandello's works, where nobody understands anything,and where the author plays the fool with us all? [The ACTORS grin. The MANAGER goes to LEADING MAN andshouts.] Yes sir, you put on the cook's cap and beat eggs.Do you suppose that with all this egg-beating business youare on an ordinary stage? Get that out of your head. Yourepresent the shell of the eggs you are beating! [Laughterand comments among the ACTORS .] Silence! and listen tomy explanations, please! [To LEADING MAN .] "Theempty form of reason without the fullness of instinct,which is blind." -- You stand for reason, your wife isinstinct. It's a mixing up of the parts, according to whichyou who act your own part become the puppet of yourself. Do you understand?

Leading Man. I'm hanged if I do.

The Manager. Neither do I. But let's get on with it.It's sure to be a glorious failure anyway. [Confidentially.]But I say, please face three-quarters. Otherwise, what withthe abstruseness of the dialogue, and the public that won'tbe able to hear you, the whole thing will go to hell. Comeon! come on!

Prompter. Pardon sir, may I get into my box? There'sa bit of a draught.

The Manager. Yes, yes, of course!

At this point, the DOOR-KEEPER has entered from thestage door and advances towards the manager's table, taking off his braided cap. During this manoeuvre, the Six CHARACTERS enter, and stop by the door at back of stage,so that when the DOOR-KEEPER is about to announce theircoming to the MANAGER , they are already on the stage. Atenuous light surrounds them, almost as if irradiated bythem -- the faint breath of their fantastic reality.

This light will disappear when they come forward towards the actors. They preserve, however, something ofthe dream lightness in which they seem almost suspended;but this does not detract from the essential reality of theirforms and expressions.

He who is known as THE FATHER is a man of about 50:hair, reddish in colour, thin at the temples; he is not bald,however; thick moustaches, falling over his still freshmouth, which often opens in an empty and uncertainsmile. He is fattish, pale; with an especially wide forehead. He has blue, oval-shaped eyes, very clear andpiercing. Wears light trousers and a dark jacket. He isalternatively mellifluous and violent in his manner.

THE MOTHER seems crushed and terrified as if by an intolerable weight of shame and abasement. She is dressedin modest black and wears a thick widow's veil of crpe.When she lifts this, she reveals a wax-like face. She alwayskeeps her eyes downcast.

THE STEP-DAUGHTER , is dashing, almost impudent,beautiful. She wears mourning too, but with great elegance. She shows contempt for the timid half-frightenedmanner of the wretched BOY (14 years old, and alsodressed in black); on the other hand, she displays a livelytenderness for her little sister, THE CHILD (about four),who is dressed in white, with a black silk sash at thewaist.

THE SON (22) tall, severe in his attitude of contemptfor THE FATHER , supercilious and indifferent to THEMOTHER. He looks as if he had come on the stage againsthis will.

Door-keeper [cap in hand]. Excuse me, sir...

The Manager [rudely]. Eh? What is it?

Door-keeper