Henry IV

Henry IV

Luigi Pirandello Tom Stoppard / Nov 27, 2020

Henry IV In this meeting of two noted playwrights Tom Stoppard has made a new version of Luigi Pirandello s masterpiece of madness and sanity After a fall from his horse an Italian aristocrat wakes up believ

  • Title: Henry IV
  • Author: Luigi Pirandello Tom Stoppard
  • ISBN: 9780802141941
  • Page: 470
  • Format: Paperback
  • In this meeting of two noted playwrights, Tom Stoppard has made a new version of Luigi Pirandello s masterpiece of madness and sanity After a fall from his horse, an Italian aristocrat wakes up believing he is the medieval German emperor Henry IV Twenty years later the woman he once loved visits him, accompanied by her lover and psychiatrist, who plans to shock Henry bIn this meeting of two noted playwrights, Tom Stoppard has made a new version of Luigi Pirandello s masterpiece of madness and sanity After a fall from his horse, an Italian aristocrat wakes up believing he is the medieval German emperor Henry IV Twenty years later the woman he once loved visits him, accompanied by her lover and psychiatrist, who plans to shock Henry back to sanity But is Henry as mad as they think And what is madness anyway

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      Published :2020-08-13T19:24:13+00:00

    About "Luigi Pirandello Tom Stoppard"

      • Luigi Pirandello Tom Stoppard

        Luigi Pirandello Italian lu i d i piran d llo Agrigento 28 June 1867 Rome 10 December 1936 was an Italian dramatist, novelist, poet and short story writer whose greatest contributions were his plays He was awarded the 1934 Nobel Prize in Literature for his almost magical power to turn psychological analysis into good theatre Pirandello s works include novels, hundreds of short stories, and about 40 plays, some of which are written in Sicilian Pirandello s tragic farces are often seen as forerunners of the Theatre of the Absurd.Awarded the Nobel Prize for Literature in 1934 for his bold and ingenious revival of dramatic and scenic art.


    160 Comments

    1. A tema c’è il complesso e inestricabile rapporto tra finzione e verità, persona e personaggio, realtà e fuga da essa. Enrico IV è vittima non solo della pazzia (dapprima autentica e poi consapevolmente simulata), ma anche della propria incapacità/impossibilità di adeguarsi ad una realtà che non gli si confà più.Ma nel gioco tragicomico tra identità e finzione, in cui niente sembra vero, è implicato il desiderio di un possibile (impossibile?) istante di verità affermata e vissuta se [...]


    2. [Visto al teatro Carignano di Torino il 13 febbraio 2018, con Carlo Cecchi che fa adattamento, regia e protagonista; Angelica Ippolito (la marchesa Matilde Spina), Chiara Mancuso (sua figlia Frida), Remo Stella (il marchese Carlo Di Nolli), Roberto Trifirò (il barone Tito Belcredi), Gigio Morra (il dottor Dionisio Genoni), Federico Brugnone, Matteo Lai, Dario Iubatti e Davide Giordano (i quattro servitori-finti consiglieri segreti di Enrico IV)]. Quasi un secolo dopo il grande successo teatrale [...]


    3. Pirandello was a complex and bizarre man when it came to penning down personality narrations. His works on theatrical post-modern genres are not only mesmerizing but quite baffling at times.Henry IV is an engrossing masquerade about an actor/protagonist of a play who goes crazy after being knocked off his horse. The actor then wanders in a deluded world owing to the persona of Henry IV (a character he used to play before the ill-fated mishap) spanning over twelve years after the fall. Thus he th [...]


    4. Madness is bae! :PHamlet. Haider. Joker. Shakespeare. Pirandello. I love madness and the way it plays on people. The way it is used to send a message.A mad man is free. In the masquerade of human life where everyone has more than one face, a mad man needs no mask.



    5. HENRY IV. (1922). Luigi Pirandello. ****. Here is another popular play by this Nobel Prize-winning Sicilian playwright that explores themes of reality and madness. After a confusing bit in the beginning, we finally learn that his protagonist has lost his mind after a fall from a horse while playing in a masquerade. He then believes that he is the medieval German emperor Henry IV. This delusion is fortified by a wealthy relative who surrounds him with a diverse costumed group of servants and cour [...]


    6. Un dramma travolgente, in cui la sofferenza del protagonista è tangibile. Sono riuscita ad immaginare ogni dettaglio, grazie alle accuratissime descrizioni.



    7. Stiamo studiando il terzo atto alla facoltà, è davvero complesso ed è molto difficile a capire, ma esprime tante idee e tanti concetti filosofici, come per esempio, la pazzia vera è confidarsi con qualcuno. I temi del tradimento e della fugacità del tempo sono ben tratti, si può capire come Enrico sente, dopo che la vita gli era passata, e dopo aver perso il suo posto nel cuore della donna amato, e nella società perché tutti gli ritenevano pazzo. Tutto gli era cambiato dopo il giorno dis [...]




    8. Very perplexing it's about sanity and insanity and how the fine line between them gets somewhat blurry at times this work mocks the certainty and seriousness with which people act or consider themselves in life in general loved the second act best.


    9. أقرأ شكسبير لأنه أرث بشريأرث بشري مليء بالأبداع و القصائد الجميلة ، لكنه أيضاً مليء بالعصنرية و التمييز بين الجنسين و الجمل الأعتراضية الطويلة الغير منطقية و الأسهاب في التشبيهات المغالي فيها في غير موضعها في رأيي ، و ربما كان ذلك ما يتناسب مع ذوق عصره ، هو مؤلف عبقري لكن أعت [...]


    10. The clothes make the man. And in this case it is the 11th century robes of the German Holy Roman Emperor Henry IV. The plot in brief: At a costume party a man – whose real name is never told – falls from a horse and wakes up believing he is Henry IV. Twenty years later, his cousin and others come to his home to shock him out of his delusion. Identity, self and madness are all called in question in this brief play. The wonderfully tight plot pulls all these elements together in strange yet re [...]


    11. One of the most progressive writers of 20th. century with a wonderful revolutionary look on human and history.لوئیجی پیراندللو یکی از پیشروان نمایش نامه نویسی و ادبیات معاصر جهان معاصر است. در هر صفحه و صحنه از آثار او نگاه و حرف تازه ای ست که هنوز هم پس از هفتاد هشتاد سال، از اهمیت آن کاسته نشده است. متاسفانه بعد از بهمن محصص [...]


    12. Pirandello has a way of writing that feels as if the reader is intruding on his own personal turmoil (which, given the institutionalization of his wife and the extreme depression he suffered after his huge financial losses in the mining business, were numerous) -- sometimes the words on the page are so genuinely personal and true that Pirandello is Henry IV. Monologuing in the words of a half-crazy, half-lucid, and all tumultuously violent man stuck in the dichotomous realities of his mind and c [...]


    13. With Pirandello's later plays he really began to alter the idea of what dramatical works could be in the first half of the 20th century. Pirandello's work predates the "theater of the absurd" movement that would become prevalent in post-war drama. Instead of focusing on the outright absurdity of the dialogue and characters' actions as many in that latter movement did, Pirandello incorporated the audience into his works had his characters challenge the very notion of a play itself.In this play a [...]


    14. Well, ’tis no matter. Honour pricks me on. Yea, but how if honor prick me off when I come on? How then? Can honor set to a leg? no. Or an arm? no. Or take away the grief of a wound? No. Honor hath no skill in surgery, then? No. What is honor? A word. What is in that word “honor”? What is that “honor”? Air. A trim reckoning. Who hath it? He that died o' Wednesday. Doth he feel it? No. Doth he hear it? No. 'Tis insensible, then? Yea, to the dead. But will it not live with the living? No. [...]


    15. E' davvero difficile commentare un testo teatrale che si presta a molte riflessioni.Pirandello riesce, con un colpo di penna (e probabilmente qualche bravo attore) a stravolgere i punti di vista.Entriamo nella storia pian piano, in punta di piedi e creiamo la nostra opinione, che viene immediatamente e inaspettatamente stravolta nell'atto successivo.Non essendo una grande estimatrice dei testi teatrali dei quali, lo ammetto, preferisco vedere la rappresentazione, ritengo però che le opere di Pi [...]


    16. Pirandello is an absolute master. His "Six Characters in Search of an Author" is one of my favorite dramas of all time. "Enrico IV" falls in the same line - reality and illusion are not necessarily distinguishable from each other, and are subject to the human characters choosing to participate. He takes the act of drama itself as the catalyst for this exploration, to stunning effects. The story never seems strained, and the language flies off the page. I have too many favorite lines to list them [...]


    17. // 3.5 stars //This was pleasantly good, and I honestly enjoyed it more than I thought I would. The plot was genius and, even if it was not very long, all the characters were well-developed, their feelings reliable.Nonetheless, the beginning was a bit slow and I didn't quite get the ending; I think it was a little bit off tone compared to the rest. Still, this was a really nice read, and I would recommend it if you want to start getting into plays ;)


    18. Enrique IV está loco? O los locos son todos los demás? Una obra que juega con el concepto de la locura y los llamados "locos". Como dice el personaje, "Benditos sean ellos! Los locos construyen sin lógica, o con una lógica propia que vuela como una pluma"Una obra divertida y fascinante donde la realidad se vuelve una verdadera locura. Pirandello nos afirma una frase de Lewis Carroll: "Está loco, pero te dire un secreto: las mejores personas lo están".


    19. Oddly cute.Not what I expected at all, because I thought I was going to read about Henry IV of England. Still, it was an unexpected delight. I read somewhere recently that what novelists really have to sell is omniscience. This play certainly fits that bill.There was a whole lot of cliche, but I guess that's normal with classics. If it wasn't a cliche before it was written, it was after.


    20. This, and not Six Characters, is my favorite play by Pirandello - hands down. I won't write at length about it, as the plot is tricky and must be related in some detail - but if you like the idea of truth vs illusion (George did, Martha didn't in a more recent play) you will be on the edge of your seat, whether at a performance (but it's a bitch to get right) or reading it (when you can imagine your own performance, often as much fun as seeing one!)


    21. Letto (o riletto? ho una vera lacuna mnesica) in occasione dello spettacolo Teatrale di stasera. Pirandello delizia il cervello del lettore con questi dialoghi secchi e complessi che arricchiscono di filosofia una storia semplicissima a livello di "trama". Pura manna per la mente.


    22. Read this. Technically a reread, because I've read Enrico IV in Italian, but this was the first time I'd read the Stoppard one, which has a nice modern tone to it while maintaining the feeling of the play.


    23. Having recently re-read a different translation (from, I believe, the 1950s), of this, one of my favorite plays, I was interested in seeing how the Tom Stoppard version would differ. The tone is more modern, but the intentions remain, and it was definitely a smoother read. Still brilliant!!!


    24. The story was good and creative. The main character survives after an accident only to spend the next 20 years believing that he's an ancient German emperor. I also liked the climax, as some unexpected revelations were disclosed.


    25. Un altro tassello, forse meno immediatamente comprensibile di altri, della tipica riflessione pirandelliana sulle maschere indossate dall'Io. Per ricordarci che, in fondo, è meglio essere disprezzati che osannati per ciò che non siamo.



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