IL BERRETTO A SONAGLI

Pirandello puts on the scene an “old man” one of those men “invisible”, unimportant, crushed in the “grip” of life and, since it is a “nothing man” is treated as if it were nothing. And on stage, as found by chance: an old backdrop and few elements, such as “wrecks” of a bourgeois living room, where is represented a banal piece of life of a “decent family” or a “family for good” that reckons with the nagging anguish of having to be “for others”, in front of others. As if one’s life were, by statute, a play where “others” are unjust and ferocious spectators.

The only hope is to defend the “I” from the aggression of others. But how? Ciampa uses door bars, bolts, stakes to defend his “me”. But he can’t. He is forced to go out, to “get his hands dirty”, Sartre would say. To exist. But to exist is to “put himself on the line”. And then the “civil rope” and the “serious rope” are no longer needed. It is the “mad rope” that clicks.

Gabriele Lavia

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