Pirandello
Pirandello is not a Pirandello's play staging, nor the italian writer's biography, multifaceted author and distinguished with a Literature's Nobel Prize at 1934. However, Pirandello is in fact a biography: the history of Mattia Pascal, just like Pirandello invented it, at 1904, in the book The Late Mattia Pascal. This was the romance mala voadora adapted to theatre, to do a show called Pirandello.
On a trip he does to temporarily get away from his unhappy life, Mattia Pascal wins a small fortune at a casino and, when he returns rich, he comes across his own funeral. It is, naturally, a misconception, but he sees the oportunity to start a new life, in other place, without commitments, without a past besides the one he will invent - a life that he's going to choose with all the freedom. But not all happens as he expected: his new life forces him to constantly lie. He says a lie after a lie. Which is great. We decided to do Pirandello based on this Pirandello's romance because we prefer the non-identities to the immobilism of identities (that, as we say since 2003, is contrary to the arts) because it is lying that fictions are built.
Pirandello, a compliment of fiction, is a laboratory of metatheatry around a non-dramatic text by the most metatheatrical playwrighter of the Twentieth Century. It overlaps the fictional abyss that characterizes the romance, a metatheatry that it's not the one Pirandello uses in his own dramatic texts but another one, invented from a non-dramatic narrative.