CUMULATIVE INDEX TO PIRANDELLO STUDIES
AND ITS PREDECESSORS


Until volume 10 (1990) the annual publication of the British Pirandello Society was known as The Yearbook of The British Pirandello Society; in keeping with a change of the Society’s name, the journal became The Yearbook of the Society for Pirandello Studies (volumes 11–15/16: 1991–1995/1996); it eventually became Pirandello Studies with volume 17 (1997).

Issues


1
2 3 4 5 6 7
8/9 10 11 12 13 14 15/16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37

Volume 1 (1981)


Articles, translations and interviews

Lepschy, Anna Laura, ‘Notes on the Figure of the Actor in Pirandello’, 1–18

Lorch, Jennifer, ‘Philip Stone: Pirandellian Actor’ [interview], 19–25

Barker, Clive, ‘Right You Are (If You Could Only Think So)’, 26–34

Stone, Jennifer, ‘Beyond Desire: A Critique of Susan Sontag’s Production of Pirandello’s Come tu mi vuoi (Teatro stabile di Torino, stagione 1980–81)’, 35–47

Puppa, Paolo, ‘La sagra del Signore della nave: dalla festa dei folli alla fabbrica’, 48–65

Merry, Bruce, ‘Of Trains and Repetitions’, 66–73

Standen, Gray, ‘“Lui il corpo, ed io l’ombra”: Intensification in Bellavita’, 74–81

Book Reviews

Lauretta, Enzo, Luigi Pirandello: Storia di un personaggio ‘fuori di chiave’, Milan, Mursia, 1980 (Anna Laura Lepschy), 82–85

Ragusa, Olga, Luigi Pirandello: An Approach to His Theatre, Edinburgh, Edinburgh University Press, 1980 (Jennifer Lorch), 85–87

Dombrowski, Robert S., Le totalità dell’artificio: ideologia e forma nel romanzo di Pirandello, Padua, Liviana, 1978 (Peter Rink), 87–92

Volume 2 (1982)


Articles, translations and interviews

Firth, Felicity, ‘The Mask as Face and the Face as Mask: Some of Pirandello’s Variations on the Theme of Personal Appearance’, 1–27

Bassnett-McGuire, Susan, ‘Pirandello’s British Première: Lazzaro’, 28–31

Lorch, Jennifer, ‘The 1925 Text of Sei personaggi in cerca d'autore and Pitoëff’s Production of 1923’, 32–47

Caesar, Michael, ‘Enrico’s Foil: The Function of Belcredi in Enrico IV’, 48–54

Briosi, Sandro, ‘Un autore in cerca d’autore’, 55–65

Stewens, Dorothea, ‘The Character as Director: From “‘Leonora, addio!’” to Questa sera si recita a soggetto’, 66–72

Sawecka, Halina, ‘Pirandello in Poland’, 73–82

Book Reviews

Borsellino, Nino, Immagini di Pirandello, Cosenza, Lerici, 1979 (Jennifer Stone), 83–87

Bussino, Giovanni R., Alle fonti di Pirandello, Florence, ABC, 1979 (Alan Bullock), 88

Macchia, Giovanni, Pirandello o la stanza di tortura, Milan, Mondadori, 1981 (Peter Rink), 88–89

Giovanelli, Paola Daniela (ed.), Pirandello poeta: atti del convegno internazionale organizzato dal Centro Nazionale di Studi Pirandelliani di Agrigento, Florence, Vallecchi, 1981 (Jennifer Lorch), 89–90

Puppa, Paolo, Il salotto di notte, Turin, Multimmagini, 1980 (Joseph Farrell), 90–91

Puppa, Paolo, Fantasmi contro giganti: scena e immaginario in Pirandello, Bologna, Pàtron, 1978 (Susan Bassnett-McGuire), 91

Rössner, Michael, Pirandello Mythenstürzer: fort vom Mythes mit Hilfe des Mythos, hin zum Mythos, Vienna–Cologne–Graz, Hermann Böhlaus Machfahren, 1980 (Dorothea Stewens), 92

Production Reviews

Six Characters in Search of an Author
, tr. John Linstrum, presented by the Oxford University Dramatic Society, directed by Tim Stilwell, Oxford Playhouse, November 1982 (Jennifer Lorch), 96

To Clothe the Naked and The Imbecile, tr. William Murray, MA Drama Group at the University of Essex, directed by Leslie Bell and Stuart Daly, 3–6 March 1982 (Gray Standen), 96–97

Il berretto a sonagli, presented by students of the Department of Italian, University of Liverpool, directed by Helena Jones, 10 March 1982 (Letizia A. Zaina), 97–98

Six Characters in Search of an Author, tr. Frederick May, directed by Eryl Jenkins for the Swansea Little Theatre, at the Dylan Thomas Theatre, Swansea, 10–13 February 1982 (Brian Cainen and Felicity Firth), 98

Volume 3 (1983)


Articles, translations and interviews

Firth, Felicity, ‘“Pirandello in London” by Luigi Pirandello’ [translation], 1–4

Hirst, David, ‘Pirandello in England: A Question of Style’, 5–14

Vicentini, Claudio, ‘La trilogia pirandelliana del teatro nel teatro e le proposte della teatralità futurista’, 15–32

Tinterri, Alessandro, ‘Two Flights of Steps and a Stage Direction: Pirandello’s Staging of Six Characters in Search of an Author in 1925’, 33–37

Lorch, Jennifer, ‘Interview with John Linstrum’, 38–44

Stone, Jennifer, ‘Cinéastes’ Texts’, 45–66

Standen, Gray, ‘Pirandello Index’, 67–88

Book Reviews

Bassnett-McGuire, Susan, Luigi Pirandello, London, Macmillan, 1983 (Katharine Worth), 89–91

Pirandello, Luigi, Carteggi inediti con Ojetti, Albertini, Orvieto, Novaro, De Gubernatis, De Filippo, a cura di Sarah Zappulla Muscarà, Rome, Bulzoni, 1980; Pirandello–Martoglio, Carteggio inedito, commento e note di Sarah Zappulla, Milan, Pan, 1980 (Jennifer Lorch), 92–94

Salsano, Roberto, Pirandello novelliere e Leopardi, Rome, Lucarini, 1980 (Michael Caesar), 94–95

Production Reviews

The Rules of the Game
, tr. Robert Rietti and Noel Cregeen, presented by the Yvonne Arnaud Theatre, Guildford, directed by Anthony Quayle, Guildford, 22 June–10 July 1982 (Felicity Firth), 98–99

Liolà, tr. Fabio Perselli and Victoria Lyne, presented by the New Internationalist Theatre directed by Fabio Perselli, at the Bloomsbury Theatre, London, 27 July–7 August 1982 (Jennifer Lorch), 100–02

Henry IV, tr. Julian Mitchell, presented by the Manchester Umbrella Theatre Company, directed by Liam Brennen, Edinburgh Festival (Fringe), Summer 1982 (Donald Watson), 102–03

Eduardo de Filippo’s Berretto a sonagli (videotape of 1980 stage production) (Felicity Firth), 103–04

Il giuoco delle parti, Compagnia stabile delle arti, directed by Giancarlo Sbragia, at the Teatro Comunale Carlo Goldoni, Venice, 23–25 April 1982 (Peter Rink), 105–07

Volume 4 (1984)


Articles, translations and interviews

Vicentini, Claudio, ‘Pirandello and the Problem of Theatre as an Impossible Art’, 1–20

Stone, Jennifer, ‘Pirandello's Scandalous Docile Bodies’, 21–35

Meda, Anna, ‘Note per una lettura critica di Non è una cosa seria’, 36–47

Bassnett, Susan, ‘Interview with Pirandello: A Translation into English of Benjamin Crémieux’s French’, 48–55

Stone, Jennifer, ‘Double Exposures: Pirandello, Mosjoukine and Casanova’, 56–66

Zangrilli, Franco, ‘Bibliografia essenziale sul Pirandello narratore’, 67–80

Book Reviews

Illiano, Antonio, Metapsichica e letteratura in Pirandello, Florence, Vallecchi, 1982 (John C. Barnes), 81–84

Milioto, Stefano (ed.), Pirandello e il teatro del suo tempo, Agrigento, Centro Nazionale di Studi Pirandelliani, 1983 (Richard Andrews), 84–86

Zangrilli, Franco, L’arte novellistica di Pirandello, Ravenna, Longo, 1983 (Anna Laura Lepschy), 87–89

Pasquazi Ferro Luzzi, Livia (ed.), Un manoscritto autografo inedito dell’‘Enrico IV’ di L. Pirandello, Rome, Bulzoni, 1983 (Julie Dashwood), 90–91

Production Reviews

Cosí è (se vi pare), directed by Giancarlo Sepe, at the Teatro Duse, Bologna, May 1983 (Meg Staddon), 92–93

Six Characters in Search of an Author, tr. John Linstrum, presented by the Sherman Arena Company, directed by Gareth Owen, at the Sherman Arena Theatre, Cardiff, 15–19 May 1984 (Alison Booth), 94–95

Volume 5 (1985)


Articles, translations and interviews

Barker, Clive and Susan Bassnett, ‘Locating Pirandello in the European Theatre Context’, 1–19

Fitzpatrick, Tim, ‘Strategies of Antithesis: The Opening of Sei personaggi in cerca d’autore’, 20–42

Cousin, Geraldine, ‘Stanislavsky and Pirandello: From Text to Performance’, 43–59

Bussino, Giovanni R., ‘American Dissertations on Pirandello, from 1954 to 1984’, 60–63

Book Reviews

Tamberlani, Carlo, Pirandello nel ‘teatro che c’era’, Rome, Bulzoni, 1982 (Jennifer Lorch), 64–67

Bonifazi, Neuro, Teoria del fantastico e il racconto fantastico in Italia: Tarchetti, Pirandello, Buzzati, Ravenna, Longo, 1982 (Felicity Firth), 67–70

Barbina, Alfredo, Ariel: storia d’una rivista pirandelliana, Rome, Bulzoni, 1984 (Elizabeth Cheshire), 70–74

Rivista di studi pirandelliani, marzo 1984, anno IV n. 1, nuova serie, Agrigento (Brian Cainen), 74–75

Briganti, Paolo, Scrivere la vita: sul teatro pirandelliano, Parma, Zara, 1984 (Anna Laura Lepschy), 76

Production Review

Seis Personajes in Busca de Autor, presented by the Teator Libre de Bogotà, directed by German Moure, Bogotà, 1984 (Clive Barker), 77–78

Volume 6 (1986)


Articles, translations and interviews

Massi, Lucia, ‘Pirandello’s Theory of “Modern Myths”’, 1–18

Lepschy, Anna Laura, ‘Gallina’s La famegia del santolo and Pirandello’s Tutto per bene’, 19–35

Tinterri, Alessandro, ‘Pirandello regista e The Gods of the Mountain di Lord Dunsany’, 36–39

Bassnett, Susan, ‘From Gods to Giants: Theatrical Parallels Between Edward Dunsany and Luigi Pirandello’, 40–49

Sanguinetti Katz, Giuliana, ‘La pazzia di Enrico IV’, 50–64

Càllari, Francesco, ‘Films Based on Works by Pirandello’, 65–76

Book Review

Pirandello, Luigi, Lettere da Bonn, 1889–1891, introduzione e note di Elio Providenti, Rome, Bulzoni, 1984 (Ann Caesar), 77–79

Production Review

Chee Chee, presented by Studio ’68, directed by Richard Carey, at The Chaplaincy, University of Warwick, May 1985 (Hélène Ward), 79–80

Volume 7 (1987)


Articles, translations and interviews

Brandt, George W., ‘Six Characters in Bristol’, 1–10

Booth, Alison, ‘Mystics, Madmen and Mendicants: The Visionary Element in Pirandello’, 11–31

Vicentini, Claudio, ‘Concepts of Acting in Pirandello’s Dramaturgy’, 45–57

Bassnett, Susan, ‘“Illustrators, Actors and Translators” by Luigi Pirandello’ [translation], 58–78

Book Reviews

Lauretta, Enzo (ed.), Testo e messa in scena in Pirandello, Rome, La Nuova Italia Scientifica, 1986 (Laura Lepschy), 79–80

Thompson, Doug, An Introduction to Pirandello’s Sei personaggi in cerca d'autore’, University of Hull, Department of Italian, 1985 (Julie Dashwood), 80–82

Pirandello, Luigi, The Late Mathias Pascal, translated from the Italian with an introduction and chronology by Nicoletta Simborowski, London, Dedalus, 1987 (Felicity Firth), 82–83

Bentley, Eric, The Pirandello Commentaries, Evanston, Illinois, Northwestern University Press, 1986 (Margaret Shewring), 84–85

Alessio, Antonio, Pirandello pittore, Agrigento, Edizioni del Centro Nazionale di Studi Pirandelliani, 1984 (Emma Spina Barelli), 85–86

Production Reviews

Six Characters in Search of an Author, in a new version by Nicholas Wright, directed by Michael Rudman, at the Olivier Theatre, National Theatre, London (Giulia Ajmone Marsan), 32–35

Six Characters in Search of an Author, in a new version by Nicholas Wright, directed by Michael Rudman, at the Olivier Theatre, National Theatre, London, 18 March 1987 (Katharine Worth), 36–44


Volume 8/9 (1988/1989)


Articles, translations and interviews

Stocchi-Perucchio, Donatella, ‘Il fu Mattia Pascal as a Game of “Guardie e ladri”: An “Experiment in Poetic Philology”’, 1–31

Günsberg, Maggie, ‘“Tu sai parlare; io non soˇ”: Re-constructing the Family in Pirandello’s Sei personaggi in cerca d'autore’, 32–50

Miller, Anne, ‘Agata and Silia: Two Pirandellian Women Seen in the Light of Transactional Analysis’, 51–67

Lepschy, Anna Laura, ‘The Treatment of Antefact in Pirandello’s Theatre’, 68–90

Günsberg, Maggie, ‘Parla pure, papà: non ti sento’, 91–101

Bassnett, Susan, ‘“Feminism” by Luigi Pirandello’ [translation], 102–06

Fried, Ilona, ‘Exorcism: An Extraordinary Performance of Six Characters in Search of an Author in Hungary’, 107–12

Book Reviews

Pirandello, Luigi, Maschere nude, edited by Alessandro d’Amico, vol. 1, Milan, Mondadori, 1986 (Brian Moloney), 113–15

Sciascia, Leonardo (ed.), Omaggio a Pirandello: Almanacco Bompiani, 1987; in appendice Almanacco letterario Bompiani 1938, Milan, Bompiani, 1986 (Ann Caesar), 116–18

Production Reviews

Naked, tr. Diane Cilento, presented by The Group, directed by Roland Jaquarello, at TheOld Red Lion, Islington, 3–28 November 1987 (Laura Lepschy), 119

Right You Are! (If You Think So), tr. Frederick May, directed by Tony Rushforth, at The Questor’s Theatre, Ealing, 5–12 December 1987 (Laura Lepschy), 119–20

Six Characters in Search of an Author, directed by Anatoly Vasiliev, at the Brixton Academy, July 1989 (Laura Lepschy), 121–22

Man, Beast and Virtue, directed by William Gaskill, at the National Theatre (Cottesloe), South Bank, 1989 (Laura Lepschy), 122–23

Volume 10 (1990)


Firth, Felicity, ‘The Mountain Giants: A Myth by Luigi Pirandello’ [translation], 1–129

Volume 11 (1991)


Articles, translations and interviews

Bisicchia, Andrea, ‘Giorgio Strehler’s Production of I giganti della montagna in the Context of Its Performance History: An Examination of the Aesthetic Potential of the Stage’, 1–25

Bradby, David and Enzo Cozzi, ‘On Directing The Mountain Giants’, 26–31

Puppa, Paolo, ‘Dal Figlio cambiato alla favola’, 32–49

Sanguinetti Katz, Giuliana, ‘The Myth of Diana and Hippolytus in Pirandello’s Play Diana e la Tuda’, 50–66

Pearson, Tony, ‘The Modern Theatre Trilogies of Pirandello and Evreinov’, 67–83

Book Reviews

Stone, Jennifer, Pirandello’s Naked Prompt: The Structure of Repetition in Modernism, Ravenna, Longo, 1989 (Ann Hallamore Caesar), 84–87

Firth, Felicity, Pirandello in Performance, Cambridge, Chadwyck-Healey, 1990 (Jennifer Lorch), 87–88

Càllari, Francesco, Pirandello e il cinema, con una raccolta completa degli scritti teorici creativi, Venice, Marsilio, 1991 (Laura Lepschy), 89

DiGaetani, John Louis (ed.), A Companion to Pirandello Studies, Westport, NY, Greenwood Press (Elizabeth Schӊchter), 90

Pirandello, Luigi, Il berretto a sonagli, edited and introduced with notes and vocabulary by John C. Barnes, Dublin, Belfield Italian Library, 1990 (Mark M. Grimshaw), 90–92

Production Reviews

The Mountain Giants, tr. Felicity Firth, presented by the Department of Drama and Theatre Studies, Royal Holloway and Bedford New College, directed by David Bradby, at the Sutherland House Studio Theatre, Egham Hill, 6–9 December 1989 (Jennifer Lorch), 93–94

Enrico Four, tr. Robert David McDonald, directed by Philip Prowse, at the Citizens Theatre, Glasgow, 2 February–3 March, 1990 (Sharon Wood), 94–95

Henry IV, directed by Val May, at the New Theatre, Cardiff, 15 March 1990 (Brian Cainen), 96

Henry IV, tr. John Wardle and Robert Rietti, Wyndham’s Theatre, London, opening performance, 23 May 1990 (Elizabeth Sch”ächter), 97–98

Sei personaggi in cerca d’autore, Department of Italian, University College of Swansea, directed by Lucienne Edwins, University College of Swansea, 23 February 1991 (Vanna Motta), 98–99

The Vise and I’m Dreaming, but Am I?, tr. William Murray, Solo Plus Theatre Company directed by Linda Appleyard, at the Canal Café Theatre, Delamere Terrace, London, 16 April–12 May 1991 (Laura Lepschy), 99–100

Six Characters in Search of an Author, tr. Frederick May, a University of Kent Dramatics Production, directed by Mike Morley, at the Gulbenkian Theatre, Canterbury, 23–25 May 1991 (Robert Hamilton-Jones), 100–01

Tonight We Improvise, Guildhall School of Music and Drama, directed by Irina Brown, at the Guildhall School of Music and Drama, 15–18 October 1991 (Laura Lepschy), 101–02

Volume 12 (1992)


Articles, translations and interviews

Kroha, Lucienne, ‘Behind the Veil: A Freudian Reading of Pirandello’s Cosí è (se vi pare)’, 1–23

McLoughlin, Michael, ‘At Swim Six Characters or Two Birds in Search of an Author: Fiction, Metafiction and Reality in Pirandello and Flann O’Brien’, 24–31

Günsberg, Maggie, ‘Hysteria as Theatre: Pirandello’s Hysterical Women’, 32–52

Richards, Laura, ‘Il buco nel cielo di carta: Pirandello’s Enrico IV and Sophocles’ Philoctetes’, 55–63

Dashwood, Julie, ‘Pirandello’s Myth Plays’, 64–77

Williams, Edward and Emmanuela Tandello, ‘Interview with Franco Zeffirelli’, 78–81

Book Review

Stocchi-Perucchio, Donatella, Pirandello and the Vagaries of Knowledge: A Reading of ‘Il fu Mattia Pascal’, Stanford French and Italian Studies, 1991 (Laura Lepschy), 82–83

Production Reviews

As You Desire Me, tr. Kate Nelson, directed by Derek Wax, produced by Michael Abusubul for Power Pictures Limited, at the New End Theatre, Hampstead, London, March 1992 (Emmanuela Tandello), 84

The Rules of the Game, in a new version by David Hare, directed by Jonathan Kent, at the Almeida Theatre, Islington, London, 7 May–27 June 1992 (Emmanuela Tandello), 85

Sei personaggi in cerca d’autore, in a new version by Franco Zeffirelli and Luigi Vanzi, directed by Franco Zeffirelli, at the National Theatre, London, 9–14 November, 1992 (Elizabeth Sch”ächter), 86–87

Six Characters in Search of an Author, tr. Felicity Firth, adapted by Michael Hastings, directed by Bill Bryden, produced by Simon Curtis, transmitted by BBC2, 12 December 1992 (Jennifer Lorch), 88–89

Volume 13 (1993)


Articles, translations and interviews

Caesar, Ann Hallamore, ‘Telling Tales: Pirandello and the Short Story’, 1–17

Conran, Michael B., ‘Some Thoughts on Separation and Abandonment, Derived from the Play Come prima, meglio di prima’, 18–25

Pocknell, Brian, ‘The Egg and the Sword: Structures and Strategies in Il giuoco delle parti’, 25–34

Tandello, Emmanuela, ‘Characters with(out) a Text: Script as Destiny in Stoppard and Pirandello’, 35–45

Book Reviews

Sedita, Luigi, La maschera del nome: tre saggi di onomastica pirandelliana, Rome, Istituto della Enciclopedia Italiana, 1988 (Laura Lepschy), 46–47

Barnes, John C. and Stefano Milioto (eds), Le due trilogie pirandelliane: il ‘teatro nel teatro’, i ‘miti’ e la loro fortuna nel mondo anglofono, Palermo, Palumbo, 1992 (Julie Dashwood), 48–49

Donati, Corrado and Anna T. Ossani, Pirandello nel linguaggio della scena: materiali bibliografici dai quotidiani italiani (1962–1990), Ravenna, Longo, 1993 (Laura Lepschy), 50–51

Bassnett, Susan and Jennifer Lorch (eds), Luigi Pirandello in the Theatre: A Documentary Record, Chur, Harwood, 1993 (Ann Hallamore Caesar), 52–53

Vicentini, Claudio, Pirandello: il disagio del teatro, Venice, Marsilio, 1993 (Jennifer Lorch), 54–59

Production Review

The Mountain Giants, in a new version by Charles Wood, directed by William Gaskill, at the National Theatre, opening performance at the Cottesloe, 14 July 1993 (David Bradby), 60–63

Volume 14 (1994)


Articles, translations and interviews

Bigi, Brunella, ‘Pirandello dentro e fuori: colonizzazione culturale e letteratura nazionale’, 7–25

Slawinski, Maurice, ‘“Le scarpe della serva”: Another Look at Cosí è (se vi pare)’, 26–53

Firth, Felicity, ‘Fixed for Death: Pirandello on Birth, Babies and Children in the Novelle per un anno’, 54–60

Fried, Ilona, ‘The Sagra del Signore della nave: A New Kind of Theatre?’, 61–68

Book Review

Günsberg, Maggie, Patriarchal Representations: Gender and Discourse in Pirandello’s Theatre, Oxford–Providence, Berg, 1994 (Jennifer Lorch), 69–70

Production Reviews

Pensaci, Giacomino!, directed by Mario Morini, at the Teatro Gaio Melisso, Spoleto, 1 April 1994 (Laura Lepschy), 71

Six Characters in Search of an Author, tr. and directed by Mary Casey, at The New Gasworks Theatre, Dún Laoghaire Arts Centre, Co. Dublin, 4–16 April 1994 (Ursula Fanning), 72–73

The Mountain Giants, tr. Felicity Firth, presented by The Warm Feet Theatre Company, at the Randolph Studio, Edinburgh Festival, 15–23 August 1994 (Sharon Wood), 74–76

Cosí è (se vi pare), presented by the Associazione Ente Teatro di Messina, produced by Mauro Bolognini, at the Teatro Carcano, Milan, December 1994 (Laura Lepschy), 77–78

Volume 15/16 (1995/1996)


Articles, translations and interviews

Fanning, Ursula, ‘Adultery: The Paternal Potential’, 7–18

Günsberg, Maggie, ‘“Goffamente parata”: Women and Age in Pirandello’s Plays’, 19–33

Stella, John, ‘Mattia Pascal and the Tragedy of Being’, 34–53

Puppa, Paolo, ‘Savinio versus Pirandello’, 54–70

Jouët-Pastré, Gabrielle, ‘La femminilità in Káos: i fratelli Taviani reinterpretano Pirandello’, 71–87

Jouët-Pastré, Gabrielle, ‘Intervista ai fratelli Taviani’, 88–96

Casey, Mary, ‘Dov’ è l'uscita?’, 97–99

Ragusa, Olga, ‘The Pirandello–Abba Correspondence’, 100–24

Book Reviews

Meda, Anna, Bianche statue contro il nero abisso: il teatro dei miti in D’Annunzio e Pirandello, Ravenna, Longo, 1993 (Jennifer Lorch), 125–27

Zangrilli, Franco, Lo specchio per la maschera: il paesaggio in Pirandello, Naples, Cassitto, 1994 (Emmanuela Tandello), 128–29

Zangrilli, Franco, Pirandello e i classici: da Euripide a Verga, Florence, Cadmo, 1995; Zangrilli, Franco, Le sorprese dell’intertestualità: Cervantes e Pirandello, Turin, SEI, 1996 (Katia Pizzi), 130–33

Abba, Marta, Caro Maestroˇ: lettere a Luigi Pirandello (1926–1936), edited by Pietro Frassica, Milan, Mursia, 1994 (Mary Casey), 134–35

Pirandello, Luigi, All’uscita (The Way Out), edited and translated by Emanuela Cervato and Doug Thompson, Hull, University Texts in association with Hull Italian Texts, 1995 (Mary Casey), 136–37

Dashwood, Julie (ed.), Luigi Pirandello: The Theatre of Paradox, New York–Ontario–Lampeter, Mellen Press, 1996 (Elizabeth Sch”ächter), 138–40

Production Reviews

Ma non è una cosa seria, presented by the Teatro Stabile di Bolzano, directed by Marco Bernardi, at the Teatro Goldoni, Venice, December, 1995 (Anna Laura Lepschy), 141

Six Characters in Search of an Author, adapted and directed by Lizzie Eldridge, presented by students from the University of Glamorgan, at the Sherman Theatre, Cardiff, 17–20 January 1996 (Brian Cainen), 142–43

Volume 17 (1997)


Articles, translations and interviews

O’Keefe Bazzoni, Jana, ‘Grotesque Innamorata: The Transforming Object of Desire in Pirandello and His Contemporaries’, 5–33

Bini, Daniela, ‘Woman as Creator: Pirandello’s L’innesto’, 34–45

Kuprel, Diana A., ‘The Hermeneutic Paradox: Pirandello’s Cosí è (se vi pare)’, 46–57

D’Intino, Franco, ‘The Letter as Palimpsest of Literature: Pirandello versus Woolf’, 58–77

Book Reviews

Pirandello, Luigi, Collected Plays, volume 4, London, Calder, 1996 (Claudia Nocentini), 81–82

D’Alessio, Luigi, Lo zolfo come metafora: Luigi Pirandello, Leonardo Sciascia, David Herbert Lawrence, Selma Lagerlöf, Salerno, Il Sapere, 1996 (Mark Chu), 82–84

Production Reviews

Six Characters in Search of an Author, tr. John Linstrum, directed by Edward Williams, St Paul’s School Drama, 4–7 December 1996 (Anna Laura Lepschy), 85

Enrico IV, directed by Marcello Amici, with La Bottega delle Maschere, at the Teatro Agorà, Rome, April 1997 (Anna Laura Lepschy), 85–86

Six Characters in Search of an Author, presented by the Drama Society, University College, London, directed by Berwyn Kinsey, at the Bloomsbury Theatre, London, 27–29 November 1997 (Roberto Carnero), 87–89

Volume 18 (1998)


Articles, translations and interviews

Gordon, Robert S. C., ‘Notes on the Foreign Legion: Relations between Cinema, Literature and Theatre in Italy in the Silent Era’, 5–24

Barnes, John C., ‘Pirandello and Cinema’, 25–48

Wood, Mary P., ‘Pirandello and Pirandellism in Film’, 49–58

Book Reviews

Casella, Paola, Strumenti di filologia pirandelliana: complemento all’edizione delle ‘Novelle per un anno’: saggi e bibliografia della critica, Ravenna, Longo, 1997 (Anna Laura Lepschy), 59–60

Mignosi, Pietro, Il segreto di Pirandello, introduzione di Giovanna Finocchiaro Cimirri, Catania, CUECM, 1996 (Valentina Tinacci), 60–62

Production Reviews

Naked, a new version by Nicholas Wright, directed by Jonathan Kent, at the Almeida Theatre, 12 February–28 March 1998 (Jennifer Lorch), 63–65

Il piacere dell'onestà, directed by Luca De Fusco, at the Teatro San Babila, Milan, 31 March–3 May 1998 (Anna Laura Lepschy), 65–66

Volume 19 (1999)


Articles, translations and interviews

Vicentini, Claudio, ‘Pirandello’s Theatre and the Acting Techniques of the Early Twentieth Century’, 7–17

Gale, Matthew, ‘De Chirico and Pirandello’, 18–29

Lamb, Stephen, ‘Staging Change, Changing the Stage: Avant-garde Theatre in the Weimar Republic’, 30–40

Vinall, Shirley, ‘Sei personaggi in cerca d’autore and the Teatro sintetico futurista’, 41–71

Book Review

Gioanola, Elio, Pirandello, la follia (new edition including essays on Liolà and Sei personaggi in cerca d’autore ), Milan, Jaca Book, 1997 (Federica G. Pedriali), 72–74

Production Reviews

The Stone Goddess, tr. (from Diana e la Tuda ) and directed by Katherine Bailey Chubb, produced by Kit Gerould for A Star Danced Theatre Company, at the Tristan Bates Theatre, London, March 1999 (Mary Casey), 75–76

Enrico IV, directed by Maurizio Scaparro, with the Compagnia Glauco Mauri of the Teatro Stabile di Roma, at the Teatro Goldoni, Venice, April 1999 (Anna Laura Lepschy), 76–77

Volume 20 (2000)


Articles, translations and interviews

Bassnett, Susan, ‘Pirandello and Translation’, 9–17

Taviano, Stefania and Jennifer Lorch, ‘Producing Pirandello in England’, 18–30

Firth, Felicity, ‘English Actors and Pirandello: A Rag-bag of Gossip’, 32–47

Callan, Guy, ‘Ways of Staging Pirandello’s Theatre; and, Cecè: Notes of an Actor-director’, 48–61

Hampton, Simon, ‘Pirandello in Performance: An English Line’, 62–74

Firth, Felicity, ‘Performances of Pirandello’s Plays in Britain and Ireland, 1922–1999’, 75–100

O’Rawe, Catherine, ‘“Macchinetta infernale” and “lente diabolica”: Umorismo’s Devilish Double Visions’, 102–16

Santovetti, Olivia, ‘Digressive Art as Humorous Art? Pirandello’s Uno, nessuno e centomila’, 117–34

Casey, Mary, ‘Bringing Pirandello to London’ [interviews with Katherine Bailey Chubb and Simon Cox], 135–38

Book Reviews

Pirandello, Luigi, Lettere a Lietta, transcribed by Maria Luisa Aguirre D’Amico, with an afterword by Vincenzo Consolo, Milan, Mondadori, 1999 (Anna Laura Lepschy), 139–41

Bini, Daniela, Pirandello and His Muse: The Plays for Marta Abba, Gainesville etc., University Press of Florida, 1998 (Jennifer Lorch), 142–44

Caesar, Ann Hallamore, Characters and Authors in Luigi Pirandello, Oxford, Clarendon Press, 1998 (Claudia Nocentini), 144–45

Il castello di Elsinore: quadrimestrale di teatro, year 11, no. 33, Turin, Costa and Nolan, 1998 (Jennifer Lorch), 146–48

Syska-Lamparsk, Rena A. (ed.), Ars dramatica: studi sulla poetica di Luigi Pirandello, New York, Peter Lang, 1996 (Claudia Nocentini), 148–49

Production Reviews

Pirandello 3 x 3 (Cecè, The Man with the Flower in His Mouth and I’m Dreaming, or Am I?), tr. Gillian Hanna, directed by Simon Cox, and produced by Jessica Brohn for Enter the Spirit Productions, at the New End Theatre, Hampstead, December 1999 (Mary Casey), 150–51

Six Characters in Search of an Author, tr. John Linstrum, directed by Ralph Yarrow, performed at the University of East Anglia by Third-year Drama Students, 9–12 December 1999 (Ümit Hussein), 151–53

Il berretto a sonagli, directed by Giulio Bosetti for the Teatro Carcano di Milano and the Teatro Stabile Palermitano, at the Teatro Goldoni, Venice, 1999–2000 season (Paolo Puppa), 153–55

L’altro figlio, adapted from the Pirandello short story and directed by Nino Romeo for the Gruppo Jarba of Catania, at the Teatro Club, Catania, January 2000 (Paolo Puppa), 155–56

Six Characters in Search of an Author, directed by Dara McKeon for the Threefold Theatre Group, at THEatre SPACE @ Henry Place, Dublin, March 2000 (Mary Casey), 157

Volume 21 (2001)


Articles, translations and interviews

Cervato, Emanuela, ‘Reason and Desire beyond Life and Death: Echoes of Leopardi in All’uscita’, 7–20

Alessio, Antonio, ‘A Subversive in Traditional Forms’, 21–32

Rambelli, Paolo, ‘Il contributo di Suo marito e de I vecchi e i giovani allo sviluppo della figura dell’intellettuale umorista’, 33–65

Hanne, Michael, ‘New Wine in a Very Old Jar: Adaptations of a Pirandello Story from Agrigento to Kakheti’, 66–99

Book Reviews

Manotta, Marco, Luigi Pirandello, Milan, Bruno Mondadori, 1998 (Claudia Nocentini), 100

Lauretta, Enzo (ed.), Pirandello e le avanguardie, Agrigento, Centro Nazionale di Studi Pirandelliani, 1999 (Shirley Vinall), 101–04

Biasin, Gian-Paolo and Manuela Gieri (eds), Luigi Pirandello: Contemporary Perspectives, Toronto, Toronto University Press, 1999 (Federica G. Pedriali), 104–06

Providenti, Elio, Pirandello impolitico (dal radicalismo al fascismo), Rome, Salerno, 2000 (Antonio Alessio), 106–10

M. John Stella, Self and Self-compromise in the Narratives of Pirandello and Moravia, New York, Peter Lang, 2000 (Mara Mari), 110–15

Camilleri, Andrea, Biografia del figlio cambiato, Milan, Rizzoli, 2000 (Anna Laura Lepschy), 115–17

Pirandello, Luigi, Berecche and the War, translated and introduced by Julie Dashwood, Market Harborough, Troubador, 2000 (Anna Laura Lepschy), 117–18

Production Reviews

Six Characters Looking for an Author, tr. David Harrower, directed by Richard Jones, at the Young Vic Theatre, 9 February 2001 (Jennifer Lorch), 119–24

No Knowing Why, tr. Felicity Firth, directed by Christopher Fettes, at The Drama Centre, London, 19–22 March, 2001 (Jennifer Lorch), 124–27

Cecè e gli altri, directed and adapted by Paolo Puppa from seven one-act plays by Pirandello; organized by the Centre for Italian Studies at University College, London; in the Edward Lewis Lecture Theatre, University College, London, 24 March 2001 (Helena Sanson), 128–29

Sei personaggi in cerca d’autore, directed by Maurizio Scaparro, with the Eliseo Teatro Stabile di Roma and the Teatro Biondo Stabile di Palermo, at the Teatro Diego Fabbri, Forlí, April 2001 (Paolo Rambelli), 129–31

Sei personaggi in cerca d’autore, directed by Maurizio Scaparro, with Teatro Biondo Stabile di Palermo in conjunction with the Eliseo Teatro Stabile di Roma, at the Teatro Goldoni, Venice, 17–22 April 2001 (Anna Laura Lepschy), 131–33

Ce soir, on improvise, tr. Diane Pavlovic and Claude Poissant, directed by Claude Poissant, at the Théâtre du Nouveau Monde, Montréal, 19 September–15 October 2000 (Anna Laura Lepschy), 133–35

Miscellaneous

Lorch, Jennifer, ‘Index to Volumes 1–20 of Pirandello Studies and Its Predecessors’, 136–46

Volume 22 (2002)


Articles, translations and interviews

Vicentini, Claudio, ‘Umorismo and Plays Unpleasant’, 7–20

O’Rawe, Catherine, ‘Authors and Authenticity: Suo marito between the Theory and Practice of Artistic Creation’, 21–34

Chapman, Don, ‘Pirandello Productions in Oxford, 1924–1945, with Special Reference to the Work of J. B. Fagan’, 35–46

Cornwell, Paul, ‘Productions of Pirandello in Cambridge, 1924–1933’, 47–55

O’Grady, Deirdre, ‘The Shattered Self: Piave and Boito as Sources of Pirandello’s Il berretto a sonagli’, 56–75

Book Reviews

Pirandello, Luigi, Her Husband, translated by Martha King and Mary Ann Frese Witt, Durham, NC and London, Duke University Press, 2000 (Catherine O’Rawe), 76–77

Argenziano, Marina, Antonietta Pirandello nata Portolano (Dialogo mancato con Luigi), Rome, Irradiazioni, 2001 (Catherine O’Rawe), 77–79

O’Grady, Deirdre, Piave, Boito, Pirandello: From Romantic Realism to Modernism, Lampeter, Mellen Press, 2000 (Tiarnan OCleirigh), 79–81

Orsini, François, Pirandello e l’Europa, Cosenza, Pellegrini, 2001 (Jennifer Lorch), 81–83

Zangrilli, Franco, Il bestiario di Pirandello, Fossombrone, Metauro, 2001 (Julie Dashwood), 84–85

Production Reviews

I giganti della montagna, produced by APAS-ARGOT, directed by Maurizio Panici, in Piazzale Kaos, Agrigento, July 2001 (Catherine O’Rawe), 86–87

I giganti della montagna, produced by APAS-ARGOT, directed by Maurizio Panici, at the Teatro Diego Fabbri, Forlí, January 2002 (Paolo Rambelli), 88–90

Sei personaggi in cerca d’autore, produced by the Teatro Biondo Stabile, Palermo and the Eliseo Teatro Stabile, Rome, directed by Maurizio Scaparro, at the Teatro Alfieri Stabile, Turin, 18–23 December 2001 (Elizabeth Schächter), 90–91

Six Characters in Search of an Author, directed by Lucy Styles, at St Paul’s Girls’ School, London, 7–9 February 2002 (Richard Thompson), 91–94

Volume 23 (2003)


Articles, translations and interviews

Forgacs, David, ‘Assumed and Ascribed Identities: Rossellini’s Il generale Della Rovere’, 11–21

Gordon, Robert, ‘Family Voices: Pirandello and Pinter’, 22–34

Lucarelli, Chiara, ‘Pirandello and Irish Theatre: Connections and Similarities’, 35–48

Tandello, Emmanuela, ‘Expressionist Berlin: Pictorial Intimations in Act I of Come tu mi vuoi’, 49–66

Book Reviews

Mariani, Umberto, La creazione del vero: il maggior teatro di Pirandello, Florence, Cadmo, 2001 (Catherine O’Rawe), 67–69

Zangrilli, Franco, Pirandello: le maschere del ‘Vecchio Dio’, Padua, Messaggero di Sant’ Antonio, 2002 (Jennifer Lorch), 69 –72

Luoghi e paesaggi nella narrativa di Luigi Pirandello, edited by Gianvito Resta, Rome, Salerno, 2002 (Julie Dashwood), 72–74

Pirandello, Luigi, Taccuino di Harvard, edited by Ombretta Frau and Cristina Gragnani, Milan, Mondadori, 2002 (Catherine O’Rawe), 75–76

Zangrilli, Franco, Pirandello e il giornalismo, Caltanissetta–Rome, Sciascia, 2003 (Shirley Vinall), 76–78

Production Reviews

I giganti della montagna, directed by Marcello Amici, Basilica dei Santi Bonifacio e Alessio, Rome, 11–28 July 2002 (Chiara Lucarelli), 79 –81

Il berretto a sonagli, directed by Mary Casey, UCD European Theatre Festival, 24–25 February 2003 (Daragh O’Connell), 81–82

Henry IV, translated by Dan Hine, directed by Dan Hine and Kirsty Housley, Etcetera Theatre, Camden High Street, London, 4 February–2 March 2003 (Helena Sanson), 82–84

Personnages, freely drawn from Sei personaggi in cerca d’autore by Antonio Viganò and Julie Stanzac, directed by Antonio Viganò, with choreography by Julie Stanzac, Teatro Masini, Faenza, 14 April 2003 (Paolo Rambelli), 85–88

I giganti della montagna, directed by Nanni Garella, Teatro Alessandro Bonci, Cesena, 20 March 2003 (Paolo Rambelli), 85–88

L’amica delle mogli, directed by Gigi Dall’Aglio, Teatro Quirino, Rome, April 2003 (Laura Lepschy), 88–90

Volume 24 (2004)


Articles, translations and interviews

O’Rawe, Catherine, ‘“Il figlio cambiato e l’olivo saraceno”: Camilleri’s Life of Pirandello’, 8–16

D’Intino, Franco, ‘Autobiologia: corpo e discorso in Pirandello’, 17–25

Vannini, Simona, ‘Pirandello, Bakhtin and Barthes: Towards the Death and Resurrection of the Author’, 26–44

Carrer, Luisa, ‘“The Old God”: An English Version by John Purves’, 45–56

Book Reviews

Il cinema e Pirandello, edited by Enzo Lauretta, Agrigento, Centro Nazionale di Studi Pirandelliani, 2003 (Catherine O’Rawe), 57–60

Henry IV: a new version by Tom Stoppard, London, Faber, 2004 (Naomi Truell), 60–62

Production Reviews

Il berretto a sonagli, directed by Elena Bucci, Stefano Randisi, Marco Sgrosso and Enzo Vetrano, Teatro Testori, Forlí, 12 December 2003 (Paolo Rambelli), 63–67

Sei personaggi in cerca d’autore, directed by Carlo Cecchi, Teatro Rossini, Lugo (Ravenna), 23 January 2004 (Paolo Rambelli), 63–67

Six Characters in Search of an Author, directed by Alex Mandell, The Bristol Pear, Birmingham, 22 March 2004 (Simona Storchi), 68

Henry IV, directed by Michael Grandage, The Donmar Warehouse, London, July 2004 (Simona Storchi), 69–70

Volume 25 (2005)


Articles, translations and interviews

Fanning, Ursula, ‘Double Trouble: Mattia Pascal et al.’, 6–13

Ganeri, Margherita, ‘Allegory in Quaderni di Serafino Gubbio operatore’, 14–28

O’Connell, Daragh, ‘“Zu Luigi”: Pirandello and the Sicilian Literary Tradition’, 29–48

D’Amora, Mariano, ‘Traces of Life in Quando si è qualcuno’, 49–50

Book Reviews

Il figlio prigioniero: carteggio tra Luigi e Stefano Pirandello durante la Guerra 1915–1918, edited by Andrea Pirandello, Milan, Mondadori, 2005 (Anna Laura Lepschy), 58–61

Jennifer Lorch, Pirandello: ‘Six Characters in Search of an Author’, Cambridge, Cambridge University Press, 2005 (Joseph Farrell), 61–66

Catherine O’Rawe, Authorial Echoes: Textuality and Self-plagiarism in the Narrative of Luigi Pirandello, London, Legenda, 2005 (Daragh O’Connell), 66–69

I giganti della montagna: progetto per un film, edited by Enzo Lauretta, Agrigento, Centro Nazionale Studi Pirandelliani, 2004 (Catherine O’Rawe), 69–72

Production Review

Il piacere dell’onestà, directed by Lamberto Puggelli, Teatro Diego Fabbri, Forlí, 26 February 2005 (Paolo Rambelli), 73–7

Volume 26 (2006)

Articles, translations and interviews

Barnes, John C., ‘Why Henry? Pirandello’s Choice of Historical Identity for the Protagonist of Enrico IV’, 6–21

D’Amora, Mariano, ‘Through Bellocchio’s Eyes: Pirandello’s Enrico IV as a Political Statement’, 22–30

Slawinski, Maurice, ‘Truth in the Sack: L’innesto and the Meaning of Pregnancy’, 31–62

Hooper, Laurence, ‘Interview with Yvonne McDevitt’, 63–65

Book Reviews

Luigi Pirandello, Shoot!, translated by C. K. Scott Moncrieff, with an introduction by Tom Gunning, Chicago, University of Chicago Press, 2005 (Catherine O’Rawe), 66–68

Roberto Salsano, Pirandello: scrittura e alterità, Florence, Cesati, 2005 (Daragh O’Connell), 68–70

Dina Saponaro and Lucia Torsello, ‘La prima pubblicazione de L’epilogo, dramma in un atto di Luigi Pirandello nella rara edizione di Ariel, n. 14, 20 marzo 1898’, in Biblioteca teatrale: rivista trimestrale di studi e ricerche sullo spettacolo, 67–68 (July–September 2003), pp. 197–229 (Catherine O’Rawe), 70–71

Production Reviews

As You Desire Me, Camden People’s Theatre, London, 9 September 2005 (Enza De Francisci), 72–74

As You Desire Me, The Playhouse Theatre, London, 13 December 2005 (Simona Storchi), 74–77

Il berretto a sonagli, Teatro Dragoni, Meldola (Forlí–Cesena), 30 January 2006 (Paolo Rambelli), 77–80

L’uomo, la bestia e la virtú, Teatro Eliseo, Rome, 18 April–14 May 2006 (Chiara Lucarelli), 80–82

Tutto per bene and Il fu Mattia Pascal, Basilica dei Santi Bonifacio e Alessio, Rome, 28 June–7 August 2005 (Chiara Lucarelli), 82–83

Conference Reports

Convegno internazionale ‘Pirandello e le metamorfosi del testo’, Leuven–Helmond, 24–25 giugno 2005 (Monica Jansen and Inge Lanslots), 84–87

Society for Pirandello Studies Annual Conference, ‘Pirandello: Page, Stage, Image’, University of Warwick, 15 October 2005 (Simona Storchi), 87–89

Volume 27 (2007)


Articles, translations and interviews

Lalor, Doireann, ‘Confusion and Simultaneity in Questa sera si recita a soggetto’, 7–26

de Seta, Ilaria, ‘Pirandello Far from Nature? A Reading of I vecchi e i giovani Focusing on Landscape’, 27–49

Fischer, Donatella, ‘The Debate with Pirandellismo in the Theatre of Eduardo De Filippo’, 50–63

D’Amora, Mariano, ‘Neapolitan and Italian in De Filippo’s Versions of Il berretto a sonagli’, 64–74

O’Connell, Daragh, ‘Pirandello and Joyce Say “Yes!” in Denis Johnston’s The Old Lady Says “No!”, 75–92

Book Reviews

‘I vecchi e i giovani’: storia, romanzo, film, edited by Enzo Lauretta, Agrigento, Centro Nazionale di Studi Pirandelliani, 2006 (Catherine O’Rawe), 93–95

Luigi Filippo d’Amico, L’uomo delle contraddizioni: Pirandello visto da vicino, Palermo, Sellerio, 2007 (Catherine O’Rawe), 95–97

A History of Italian Theatre, edited by Joseph Farrell and Paolo Puppa, Cambridge, Cambridge University Press, 2006 (Julie Dashwood), 97–99

Production Reviews

Enrico IV, Teatro Diego Fabbri, Forlí, 8 November 2006 (Paolo Rambelli), 100–03

Sagra del Signore della Nave, Louvain, May 2007 (Inge Lanslots and Monica Jansen), 103–05

Six Characters Looking for an Author, Oxford Playhouse, Oxford, 23–26 May 2007 (Doireann Lalor), 105–07

Conference Reports

Forty-third International Pirandello Studies Conference, ‘I vecchi e i giovani: storia romanzo film’, organized by the Centro Nazionale di Studi Pirandelliani, Agrigento, 7–10 December 2006 (John C. Barnes), 108–14

International Conference, ‘Le passioni di Pirandello’, Louvain/Antwerp, 11–12 May 2007 (Daragh O’Connell), 114–17

 

Volume 28 (2008)


Articles, translations and interviews

Cale, Morana, ‘Mourning the Lost Aura? “Illustratori, attori e traduttori” and Discursive Subversion of the Metaphor of Motherhood’, 7–37

Roic, Sanja, ‘Is the Concept of Umorismo Modern?’, 38–47

Newbigin, Nerida, ‘Pirandello, Machiavelli and their donne di virtú’, 48–67

Garde, Ruth, ‘The Imprisoning Gaze: A Study of Three Works by Luigi Pirandello’, 68–88

De Francisci, Enza, ‘Pirandello’s Women: From Page to Stage’, 89–99

Farrell, Joseph, ‘The Duel and the Code of Honour for Pirandello’, 100–10

Fanning, Ursula, ‘Aspects of Abjection in Pirandello’, 111–23

Storchi, Simona, ‘Bontempelli on Pirandello: Defining Literary Modernity in the 1930s’, 124–39

Dashwood, Julie, ‘Making Pirandello Modern’, 140–55

Book Reviews

Thomas Kilroy, Pirandellos: Two Plays, Loughcrew, Gallery Press, 2007 (Joseph Farrell), 156–59

Elio Gioanola, Pirandello’s Story: La vita o si vive o si scrive, Milan, Jaca Book, 2007 (Laura Lepschy), 159–61

Guido Bonsaver, Kàos: Pirandello e i fratelli Taviani, Palermo, L’Epos, 2007 (Catherine O’Rawe), 161–63

Production Reviews

Cosí è (se vi pare), Teatro Alessandro Bonci, Cesena, 22 November 2007 (Paolo Rambelli), 164–66

Six Characters in Search of an Author, Citizens Theatre, Glasgow, 13 March 2008 (Joseph Farrell), 167–68

Conference Report

Society for Pirandello Studies Annual One-day Conference, ‘Pirandello and the Making of the Modern’, University College London, 20 October 2007 (Daragh O’Connell), 169–72

 

Volume 29 (2009)

Articles, translations and interviews

Farrell, Joseph, ‘Harold Pinter, 1930–2008’, 8–13

Barnes, John C., ‘Umorismo Is No Laughing Matter’, 14–20

Laganà, Alessandro, ‘Pirandello’s L’umorismo and Hazlitt’s Principle of “Sympathetic Imagination”’, 21–28

Santovetti, Olivia, ‘On the Minute Particle “If” and the Many Disruptions It Might Cause’, 29–37

De Chiara, Marilena, ‘“Life Is a Succession of Habits”: Pirandello’s umorismo and Beckett’s Proust’, 38–45

de Seta, Ilaria, ‘The “vecchio cascinone” and the “vecchia signora”: I vecchi e i giovani in the Light of L’umorismo’, 46–58

O’Connell, Daragh, ‘“Festa delle trasgressioni”: Modern and Pre-modern in Pirandello’s Sagra del Signore della Nave’, 59–74

Pesatori, Sara, ‘Diana e la Tuda: The Pygmalion Myth in a Transitional Work’, 75–89

Jewell, Rhianedd, ‘Three Surrealist novelle by Pirandello’, 90–96

Dashwood, Julie, ‘Detecting Pirandello’s Balzac: Le Colonel Chabert and Il fu Mattia Pascal’, 97–110

Parisi, Luciano, ‘Pirandello and an Early Twentieth-century Generation of Italian Writers’, 111–28

Fried, Ilona, ‘Sua Eccellenza Pirandello Presidente: Pirandello and the Convegno Volta’, 129–43

Original Creation

‘Unshackled: After Luigi Pirandello’, devised by Yashar Alishenas and Doireann Lalor, with translations by Doireann Lalor, 144–58

Book Reviews

Olivia Santovetti, Digression: A Narrative Strategy in the Italian Novel, Oxford, etc., Peter Lang, 2007 (Jennifer Lorch), 159–62

Franco Zangrilli, Pirandello: presenza varia e perenne, Pesaro, Metauro, 2007 (Laura Lepschy), 162–64

Production Reviews

Six Characters in Search of an Author, Chichester Festival Theatre, Chichester; Gielgud Theatre, London, 15 September–8 November 2008 (Jennifer Lorch), 165–67

Henry IV, Bloomsbury Theatre, London, 6 March 2009 (Enza De Francisci), 167–70

As You Desire Me, Old Fire Station Studio, Oxford, 19–23 May 2009 (Rhianedd Jewell), 171–72

Volume 30 (2010)

Articles, translations and interviews

Van den Bossche, Bart, ‘Deafening and Harmless Cannonades? Pirandello and Futurism’, 7–24

Gragnani, Cristina, ‘Pirandello tra Carducci e Séailles: “Elegia rurale”, poesia umoristica’, 25–41

Mangini, Angelo Maria, ‘Humour and Its Shadow: Pirandello’s Umorismo and the Fantastic’, 42–54

de Seta, Ilaria, ‘From Cage to Nest: The Library of Il fu Mattia Pascal’, 55–74

Egan, Maeve, ‘Luigi Chiarelli: The Pre-Pirandello Modernist’, 75–85

Insinga, Monica, ‘Henry: An Irish-American Adaptation of Enrico IV’, 86–102

Book Reviews

Umberto Mariani, Living Masks: The Achievement of Pirandello, Toronto, University of Toronto, 2008 (Enza De Francisci), 103–06

Pietro Frassica, Her Maestro’s Echo: Pirandello and the Actress Who Conquered Broadway in One Evening, Leicester, Troubador, 2010 (Joseph Farrell), 106–09

Franco Zangrilli, Pirandello postmoderno?, Florence, Edizioni Polistampa, 2008 (Laura Lepschy), 109–12

Production Review

Six Characters Looking for an Author, Guildhall School of Music and Drama, London, 6 February 2010 (Enza De Francisci), 113–16

Volume 31 (2011)

Articles, translations and interviews

Casella, Paola, ‘Umorismo in Pirandello’s Short Stories: A Reflection on Characters and Characterization’, 7–27

Jurisic, Srecko, ‘Death by Clothes: Garments as a Social Constraint in Pirandello’s Short Stories’, 28–42

Barnes, John C., ‘Four Characters in Search of an Order: Some Thoughts about the Main Dramatis Personae of Enrico IV’, 43–62

Marino, Mattia, ‘Macabre Memory and Ironic Identity: The Protagonist of Uno, nessuno e centomila’, 63–74

Costanzo, Samantha Mary, ‘Luigi Pirandello: Metaphysics, Mysticism and Nirvana’, 75–94

Book Reviews

Pirandello e le metamorfosi del testo, edited by Bart Van den Bossche, Franco Musarra and Isabelle Melis, Florence, Cesati, 2009 (M. Gabriella Caponi), 95–98

Le passioni di Pirandello, edited by Bart Van den Bossche and Monica Jansen, Florence, Cesati, 2010 (M. Gabriella Caponi), 98–101

Matteo Collura, Il gioco delle parti: vita straordinaria di Luigi Pirandello, Milan, Longanesi, 2010 (Laura Lepschy), 102–03

Production Review

Non si sa come, Teatro Diego Fabbri, Forlí, 23 March 2011 (Paolo Rambelli), 104–07

Miscellaneous

Lorch, Jennifer and John C. Barnes, ‘Index to Volumes 1–30 of Pirandello Studies and Its Predecessors’, 108–25

Volume 32 (2012)

Articles, translations and interviews

Ceserani, Remo, ‘An Abominable Trap: A Thematic Reading of the Short Story “La trappola’”, 7–13

Fanning, Ursula, ‘Short Story Strategies: Matters of Genre, Gender and Generation’, 14–25

Marino, Mattia, ‘Experience Empoisonments: Novelesque Maquillage Masquerades in Il fu Mattia Pascal and European Irony’, 26–38

Barnes, John C., ‘“I vecchi e i giovani” in Uno, nessuno e centomila: The Paternal Dimension’, 39–57

De Francisci, Enza, ‘Generations (Duse–Abba), Genders (the Performing Female Artist) and Genres (from “‘Leonora, addio!’” to Questa sera si recita a soggetto)’, 58–70

Caponi-Doherty, M. Gabriella, ‘Pirandello’s La figlia di Iorio: Transcription or Transposition?’, 71–86

Book Reviews

Pietro Gibellini, Verga, Pirandello e altri siciliani, Lecce, Milella, 2011 (Enza De Francisci), 87–90

La lingua del teatro fra d’Annunzio e Pirandello: atti del Convegno di studi, Macerata, 19–20 ottobre 2004, edited by Laura Melosi and Diego Poli, Macerata, EUM, 2007 (M. Gabriella Caponi-Doherty), 91–92

Franco Zangrilli, La tavola mascherata: immagini conviviali in Pirandello, Caltanissetta–Rome, Sciascia, 2011 (Laura Lepschy), 92–95

Production Reviews

Six Characters in Search of an Author, adapted by the Dublin Youth Theatre, at the Project Arts Centre, Dublin, 6–11 December 2011 (Monica Insinga), 96–99

Trovarsi, Teatro Bonci, Cesena, 14 April 2012 (Paolo Rambelli), 100–01

Volume 33 (2013)

Articles, translations and interviews

Vicentini, Claudio, ‘Pirandello and Identity: Person and Character’, 9–24

Hallamore Caesar, Ann, ‘Alter Egos: Pirandello’s Conversation with Goldoni’, 25–36

Mild, Matthew, ‘From Ghosts to Devils: Six Stage Selves Made of Frost with Brass’, 37–52

Van den Bossche, Bart, ‘“Di professione novellaro”: Pirandello, Short Stories and Literary Identity’, 53–67

Caponi-Doherty, M. Gabriella, ‘“Sono una donna non sono una statua”: Character Identity and Actor Resistance in Diana e la Tuda’, 68–78

De Francisci, Enza, ‘The Female Voice: From “Quando si è capito il giuoco” to Il giuoco delle parti’, 79–90

Champagne, John, ‘Fascism and Images of Masculinity in Three Plays by Pirandello’, 91–100

Tandello, Emmanuela, ‘Ghosts and Death: Notes for a Reading of The Mountain Giants’, 101–09

Hartley, Julia Caterina, ‘Translating, Directing and Writing the Last Act of The Mountain Giants’, 110–14

Champagne, John, ‘The Unknown Woman as a Man: Gender Identity and Come tu mi vuoi’, 115–25

Enza De Francisci, ‘Interviews with Terry d’Alfonso and with WoH Productions: Manuela Ruggiero, Marco Gambino and Carolina Artegiani’, 126–30

Book Reviews

Franco Zangrilli, Scrittori allo specchio: d’Annunzio e Pirandello, Rome, Edicampus, 2011 (M. Gabriella Caponi-Doherty), 131–34

Roberto Salsano, Michelstaedter tra d’Annunzio, Pirandello e il mondo della vita, Rome, Bulzoni, 2012 (Andrea Comincini), 134–36

Michael Syrimis, The Great Black Spider on Its Knock-kneed Tripod: Reflections of Cinema in Early Twentieth-century Italy, Toronto, University of Toronto Press, 2012 (M. Gabriella Caponi-Doherty), 137–39

Production Reviews

The Mountain Giants, O’Reilly Theatre, Keble College, Oxford, 31 October–3 November 2012 (Laura Lepschy), 140–41

Phantoms and the Effects of an Interrupted Dream, by Enzo Lauretta and Terry d’Alfonso, Bloomsbury Theatre, London, 10 November 2012 (Enza De Francisci), 141–42

Scenes from Six Characters in Search of an Author and Il berretto a sonagli, by Manuela Ruggiero, Bloomsbury Theatre, London, 10 November 2012 (Enza De Francisci), 142–44

Six Characters in Search of an Author, Rose Theatre, Bankside, 13 April 2013 (Enza De Francisci), 145–47

Il fu Mattia Pascal, Teatro Bonci, Cesena, 6 April 2013 (Paolo Rambelli), 147–49

Conference Report

International Conference, ‘...Centomila Pirandello’, Department of Italian Studies, Warsaw University, 22–24 April 2013 (Katarzyna Romanowska and Tamara Gotowicka), 150–55

Volume 34 (2014)

Articles, translations and interviews

Farrell, Joseph, ‘I vecchi e i giovani: The Elusive Mafia in Pirandello and the Veristi’, 9–21

Fanning, Ursula, ‘Unhappy Pirandellian Families: Each in Its Own Way?’, 22–32

De Francisci, Enza, ‘Silvia’s Silent Voice in Tutto per bene’, 33–43

Mangini, Angelo M., ‘Happy Families? Pirandellian Echoes in Recent Italian Film’, 44–54

De Francisci, Enza, ‘Liolà: Lost in (Its Own Literal) Translation?’, 55–65

Pini, Louisa, ‘The Use of the Narrative Voice in Verga’s Vita dei campi and Pirandello’s Il fu Mattia Pascal: A Comparison and Contrast’, 66–72

Cavosi, Roberto, ‘The School for Sons’, 73–79

McFadden, Becka and Lara Parmiani, ‘Perspectives on Creating LegalAliens’ The Old and the Young and the Ineluctability of Chaos’, 80–85

Devdariani, Dimitry and Phil Gerrard, ‘Thoughts on a New Production of The Man with a Flower in His Mouth’, 86–89

Enza De Francisci, ‘Interview with Rory Keenan’, 90–93

Book Reviews

Alessandra Sorrentino, Luigi Pirandello e l’altro: una lettura critica postcoloniale, Rome, Carocci, 2013 (Gabriella Caponi), 94–96

Luigi Pirandello, Three Plays, translated with an Introduction and Notes by Anthony Mortimer, Oxford, Oxford University Press, 2014 (Enza De Francisci), 96–99

Production Reviews

Liolà, National Theatre, 7 August 2013 (Enza De Francisci), 100–02

The Old and the Young and the Ineluctability of Chaos by LegalAliens ITC and The Man with a Flower in His Mouth, adapted by Oneworld, Bloomsbury Theatre, London, 9 November 2013 (Enza De Francisci), 102–04

Come tu mi vuoi, Teatro Dragoni, Meldola (FC), Emilia-Romagna, 9 January 2014 (Paolo Rambelli), 104–06

Conference Report

‘Pirandello: la famiglia e l’epoca’, Dublin, 8 April 2014 (John C. Barnes), 107–08

Volume 35 (2015)

Articles, translations and interviews

Godioli, Alberto, ‘From Sterne to Dostoevsky (and Back): Conflict and Regression in Pirandello’s Short Stories’, 8–16

Gidoro, Ilaria, ‘The Conflict between Man and Society through Madness in Dostoevsky’s The Double and Pirandello’s Uno, nessuno e centomila’, 17–26

De Francisci, Enza, ‘Pirandello’s (Futurist?) War of Words’, 27–40

Subialka, Michael, ‘Grotesque Critique and Salutary Umorismo: Pirandello against the Teatro Grottesco?’, 41–55

Melcer-Padon, Nourit, ‘Six Characters in Search of a Performer: The Ontology of Pirandello’s Mask-communities’, 56–74

Sarti, Lisa, ‘Authorship and the Profitable Adaptation: How Gennaro Righelli and Vittorio De Sica Reworked “Il viaggio”’, 75–91

Two Short Stories by Pirandello, translated by Elsa Ansley, 92–102

Pirandello’s ‘Image of the “Grotesque”’, translated by Michael Subialka, 103–05

Creamer, Anne-Marie, ‘The Dilemmas of Adaptation: Making Treatment for Six Characters’, 106–15

Cochrane, Vinny, ‘The Heart of Ciampa’, 116–18

Tremain, David, ‘Pirandello in Pairs: Thoughts on Combining Cosí è (se vi pare) and L’uomo dal fiore in bocca’, 119–23

Production Reviews

Mattia Pascal, the Man Who Lived, St Leonard’s Church, Shoreditch, 23 November 2014 (Enza De Francisci), 124–26

Six Characters in Search of an Author, The Barbican Theatre, London, 5 February 2015 (Michael Subialka), 126–30

If You Say So…, Pembroke Cellars, Cambridge, 5 March 2015 (Matthew Mild), 131–33

Volume 36 (2016)

Articles, translations and interviews

Savettieri, Cristina, ‘Performing the Identity of the Nation in Pirandello’s War Short Stories’, 8–22

Godioli, Alberto, ‘Comic and Tragic Performers: Identity Definition in “Sua Maestà” and “L’imbecille”’, 23–30

Messina, Davide, ‘Screening the Pirandello Effect: Third-genre Performativity in La canzone dell’amore’, 31–48

Mild, Matthew, ‘The Micromorphic Hunt of Scheherazade: Role-swaps from Pirandello’s Cameraman to Ozpetek’s Screen Bard through Beguiling Sophoclean and Thackeraian Baits’, 49–65

Gordon, Anna, ‘“Mirror-structures” of “Subject-formation”: From Pirandello’s Six Characters in Search of an Author to Contemporary Social Life’, 66–84

Campo, Giuliano, ‘The Actor in Pirandello’s Novels’, 85–101

Rambelli, Paolo, ‘A Possible Source of Enrico IV: The Protagonist of Caramba’s Mirabile visione’, 102–10

Bazzoni, Alberica, ‘Pirandello’s Legacy in the Narrative Writings of Goliarda Sapienza’, 111–26

Pirozzi, Carlo, ‘Laboratorio Ronconi: in cerca d’autore’, 127–30

Nisi, Donatella, ‘The “mala bestia”: An Introduction to the Theme of Evil in Pirandello’s Work’, 131–42

A Short Story by Pirandello: ‘An Ideal Marriage’, translated by Elsa Ansley, 143–49

Drawings Inspired by Pirandello, 150–52

Book Reviews

Karl Chircop, Maschere della modernità: Joyce e Pirandello, Florence, Cesati, 2015 (Daragh O’Connell), 153–55

Enrico Cesaretti, Fictions of Appetite: Alimentary Discourses in Italian Modernist Literature, Oxford–Bern, Peter Lang, 2013 (Silvia Ross), 155–60

Production Review

L’uomo, la bestia e la virtú [Man, Beast and Virtue], Palmerston Room, Fisher Building, St John’s College, Cambridge, Sunday 29 May 2016 (Julie Dashwood), 161–62

Conference Report

‘Sicilian Honour and Theatricality in Agrigento: A Workshop on Questa sera si recita a soggetto’, 30 November–3 December 2015 (Elisa Segnini), 163–66

Volume 37 (2017)

Articles, translations and interviews

Abba, Marta, edited by Dina Saponaro and Lucia Torsello, ‘La mia vita di attrice’, 9–46

Reza, Matthew, ‘Violence against Reason and the Mind in Pirandello’s Fantastic Fiction’, 47–58

Parisi, Luciano, ‘A Reading of “Alla zappa” [“To the Fields”]’, 59–68

Mild, Matthew, ‘The Neurogame of Memory Reinvestment: Transgressing Hours of Gender-nationalist Aggression in Il giuoco delle parti and Mustang’, 69–89

Brunello, Yuri and Nicole Gounalis, ‘Gramsci on Pirandello: From Theatre Criticism to the Prison Notebooks’, 90–100

Taddei, Valeria, ‘Embodiments of Life and Form in Uno, nessuno e centomila’, 101–11

McIntyre, Hannah, ‘Creating Reality: The Role of Imagination and the Creative Process in Pirandello’s Literary Works’, 112–17

De Francisci, Enza, Katharine Mitchell, Bart Van den Bossche, Ursula Fanning and Simon Image, ‘Round-table Discussion at the Conference of the Society for Pirandello Studies, Oxford, 15 October 2016’, 118–34

Taddei, Valeria, Giulia Corsino and Davide Martino, ‘Behind the Scenes: Il giuoco delle parti’, 135–39

Bau, Manuel, ‘Translating L’uomo dal fiore in bocca’, 140–41

Book Reviews

Umberto Mariani, La donna in Pirandello: l’estrema vittima, Caltanissetta–Rome, Sciascia, 2012 (Enza De Francisci), 142–45

Ilona Fried, Il Convegno Volta sul teatro drammatico, Roma 1934: un evento culturale nell’età dei totalitarismi, Corazzano, PI, Teatrino dei Fondi/Titivillus, 2014 (Gabriella Caponi), 145–47

Production Reviews

Il giuoco delle parti [The Rules of the Game]/‘Quando si è capito il giuoco’ [‘When the Game Is Understood’] in Italian, and L’uomo dal fiore in bocca [The Man with the Flower in His Mouth] in English, Blue Boar Theatre and Exhibition Space, Christ Church, Oxford, Saturday 15 October 2016 (Ursula Fanning), 148–49

La tartaruga, Teatro Bonci, Cesena, 3 December 2016 (Paolo Rambelli), 150–52