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Abstract

During the Twenties, a growing interest in the objects universe starts to emerge in the Pirandellian dramaturgy. These objects are taken as the symbolic referent to a complete frame of creative investments and imaginary projections. There are frequent references to the inner life of objects, that, in this way, are rescued from a reassuring everyday banality in order to acquire a disquieting presence and get into the scenic play as dramatis persona. From the futurist «drama of objects» to the trasgressive and upsetting figure of Double, Pirandello explores the poetic values of the objects universe in all the variety of their implications, including deep-symbolic ones; and he accomplishes this research, especially in the later works, moving towards the recovery of oneiric and imaginary elements, with surrealistic and metaphysical origin.