Abstract
The issue that accompanied Pirandello in his reflections about the theater and was captured in his dramaturgical composition, was the belief in the impossibility of representing the reality of the character (the mask) by an actor. Every Pirandellian character demands to be taken as real. We behold a way of thinking about the theater that repeals the representation in the scene itself and deems impossible the act of representing a character. In our author, the “naked mask” is an element of combat to the sensitive world, indicating to us a way out of this forged world, namely the unthinkable: characters truly alive, that resist to the intimidating reality of the sensitive world. This thought, that turns reality upside down, is indisputably materialized in The Mountain Giants (1936), a text left incomplete and built on the stuff of dreams.
Keywords:
Pirandello; Naked masks; Semblance of real; The mountain giants