Pattavina is ‘One, no one, one hundred thousand’ for Pirandello’s masterpiece at the Quirino theater in Rome

Each person is one in how he perceives himself, with his strengths and weaknesses, physical and character; but at the same time it is also how the hundred thousand people who know it, frequent it, talk about it see it: and, therefore, it is not definitively anyone. Luigi Pirandello’s ‘philosophy’, applied several times to the theater, finds its literary summa in the novel ‘One, no one, one hundred thousand’ which in its theatrical transposition is now on stage until 30 January at the Quirino theater in Rome, starring Pippo Pattavina in the role of the protagonist, flanked by Marianella Bargilli in those of his wife as well as by Rosario Minardi, Mario Opinato and Gianpaolo Romania, all directed by director Antonello Capodici with scenes signed by Salvo Manciagli and original music composed by Mario Incudine. The story of the protagonist of the novel and of the play, Vitangelo Muscarda (but for his wife he exists only with the pet name of Gengé) is exemplary in this sense. It all comes from the discovery, made one morning in the mirror, of having a slightly crooked nose; but his astonishment collides with the naturalness with which his wife tells him that she has had him since birth, that she has noticed it since she has known him and that even everyone in the country calls him with a couple of nicknames that refer directly right at the slope of his nose. From this discovery, the Pirandellian character matures the awareness that we are not only who we think we are but also all those who others think we are and therefore, in the end, we are really nobody, without an authentic identity for the very reason. to have infinite … “This work of the Sicilian genius represents the apex of his thought, of his endless reflection on being and appearing, on society and on the individual, on nature and on form – underlines Capodici in his notes direction – In his description of the loss of meaning that contemporary man undergoes in the face of the macro social system, which ends up canceling it by incorporating it, Pirandello proves to be very current, in his vision of the State and the family, of marriage and capitalism, of reason and madness “. (by Enzo Bonaiuto)