At the centre of the production of Pirandello there is his relativistic vision of reality and the consequent theme of the incommunicability between men. For Pirandello, the reality crumbles into an infinity of different points of view, everyone sees it according to their own way: hence the impossibility of men to enter in tuning with the others.

Meaningful, by the way, is the main character of the novel "One, None, and Hundred Thaiusand ", Vitangelo Moscarda, that discovers he can assume one hundred thousand masks, as many as are the people who approach him and claim they understand him.

In addition the reality appears to be dominated by the case more than by the logical consequentiality of the relationship cause-effect. Consequently the characters of Pirandello’s works become incapable to dominate the course of the events and are suffocated by the paradoxes of the to flow of the existence.
The characters experience dramatic situations where they discover not themselves but what the social circumstances and conventions have created, so they desperately attempt to revenge themselves, but unfortunately this always fails.

I any cases it is just the family the stage on which these tragedies develop. In fact, far from being a serene environment and a place of understanding among its members, the family becomes a sort of prison, where they cannot freely live, added to the work environment. The awareness of this condition and the attempt to affirm themselves are confused with the madness by the surrounding environment. So we can say that Pirandello’s character is "a stranger in his own life" in search for an impossible identity. He experiments what Marta, the protagonist of his first novel "The Excluded Woman", defines "the sultriness of life". In conclusion, Pirandello is one of those authors in whose works a deep ideological uniformity is perceived.

by Martina Ronzoni