Una rilettura pirandelliana: "Il giuoco delle parti"

The author, in this essay, intend to analyze Pirandello’s Il giuoco delle parti with those exegetical instruments that have as main focus to spot, in the work of art, allegorical cruces and situations. These instruments have been used for the first time by Walter Benjamin, especially in Ursprung des deutschen Trauerspiels, and then developed in Italy by Romano Luperini. The egg metaphor, already appearing in the first act, allows the author of this essay, who considers it strongly allegorical, to go through the pirandellian play, its characters, its situations, with the aim of pulling out its revolutionary strenght, aimed not only to theater but to the whole world of art contemporaneous with him.The author, in this essay, intend to analyze Pirandello’s Il giuoco delle parti with those exegetical instruments that have as main focus to spot, in the work of art, allegorical cruces and situations. These instruments have been used for the first time by Walter Benjamin, especially in Ursprung des deutschen Trauerspiels, and then developed in Italy by Romano Luperini. The egg metaphor, already appearing in the first act, allows the author of this essay, who considers it strongly allegorical, to go through the pirandellian play, its characters, its situations, with the aim of pulling out its revolutionary strenght, aimed not only to theater but to the whole world of art contemporaneous with him