what are you going to do with the women's hats? nothing. just hang them on those pegs for a moment. and perhaps one of you ladies would be kind enough to take off your coat too. - our coats as well. - and after that? he's just mad as a hatter. but why? i just want to hang them up, just for a moment. please do me this favor, will you? this is really funny. you want us to put them on the show? precisely. put them on the show, like this. yes, what we're allowed to know what you're doing? well, yes. if we set the stage better, who knows whether she may not be attracted to the objects of her trade and perhaps up here among us? look. look. here she is. here she is. it's madame pace. what did i tell you?

here she is. what sort of a game do you call this? --what's going on? they've been holding her in reserve. one moment please. why should you want to destroy this prodigy of reality, which was born, which was evoked, attracted and formed by the scene itself, a reality that had far more right to live than you have, because it is very much more alive than you are? why should you want to spoil it all because of some niggling vulgar convention of truth? now, which one of you actresses is to play the part of madame pace? because that person is madame pace. grant me at least that the actress who plays that part will be less too than she is because there is madame pace in person. look. my stepdaughter recognized her and went up to her at once.

now, watch this scene, just watch it. well? but what is she saying? i can't hear a thing. speak up! louder! did you say louder? what you mean louder? what we're talking about is not a sort of thing to be shouted over the rooftops. i was able to yell it out just now in order to shame him, in order to have my revenge, but it's quite another matter for madame pace. for her, it would mean prison. indeed. so that's how it is. but let me tell you something, my dear young lady you simply got to make yourself heard.

the way you're doing this bit at the moment, even those who was very nearby can't hear what you're saying. well, imagine what it would be like with an audience. anyway there's nothing to prevent you from speaking up when you're on stage together. we shan't be here to listen to you. we're only here now because of the rehearsal, see? pretend you're alone in the room behind the shop where no one can hear you. what do you mean, no? there's someone who hear if she speaks up. do you mean to say someone else is going to bursting on us? oh, no, no, no. they're alluding to me. i have to be waiting behind the door. madame pace knows this. so if you'll excuse me, i'll go, then i'll be already to make my entrance. no, no, while you'll here, you must respect the conventions before we get onto that-- oh, no, let's get on with it at once, once. i'm dying with desire to live the scene, to live it. if he's ready to get on with it, i am more than ready. before that, the scene between you and her has got to be got over. - do you understand? - oh, my god! she's only been saying what you already know,

that once again my mother's work has been badly done that the dress is spoiled, and that i must be patient if she's to go on helping us in our misfortune. ah, yes, senor por que, i do not wish to make advantage, to make a profit. what? does she speak like that? yes, she speaks like that, half in spanish, half in english. isn't it comical? no, senor. it is not good manners that you laugh at me when i force myself to hablar as i can english, senor. indeed, no madame. very wrong, madame. very wrong. you speak like that, madame? yes, you speak like that. but how's that? never been better. it would bring a comic relief into the crudity of the situation. yes, you speak like that, madame. it'll be absolutely wonderful. wonderful, and why not?

when you're hear a certain sort of suggestion made to you in a lingo like that, there isn't much doubt about what your answer is going to be. it almost seems like a joke. you feel inclined to laugh when you hear that there's an old senor who wants to amuse himself with you. an old senor, madame? not so very old. not quite so young, yes. and if he does not please to you, well, he has prudenza. you old devil. you old witch you, madame! no! please! calm yourself. calm yourself. what are you... and sit down here just for a minute. please, take that woman out of my sight. it is impossible for my mother to remain here. oh, they can't be here together. that's why when we first came in, that woman wasn't with us. if they're around at the same time, the whole thing will inevitably be given away in advance. it doesn't matter. it doesn't matter a bit. this is only our first run through just to give us a rough idea how it goes, everything will come in useful.

i'll sort out all the bits and pieces later, even if it is all jumbled up. i'll make something of it. now, please be calm and sit down here nice and quietly. - go on, madame. - no, no, thank you. i do nothing more with your mother present. oh, come on. showing the old senor who wants to amuse himself with me. yes, the scene has got to be played. so let's get on with it. you can go. i am going. i am going. with authority i am going. bravo! bravo! and now, you, make your entrance. come over here.

now, i'm standing here modestly with my eyes fixed on the ground. come on, speak up, say good afternoon, miss, you know, in that special tone of voice like someone who's just come in from the street. listen to her. are you running this rehearsal or am i? go on. do what she tells you. get ready to write now. good afternoon, miss. good afternoon. but, hmm, this won't be the first time, would it? the first time you've been here? no, sir. you have been here before? more than once? then, well, it weren't any longer be so?

may i take your hat? - no, i'll take it off myself. - oh, my god, my god. here, let me take it. i'll hang it up for you. it's such a charming-- such a dear little head, or to have a much smarter hat than that. will you come and help me choose one from among madame's hats, will you? i say those are our hats. for god's sake, shut up. don't try and be funny. we're doing our best to rehearse this scene, in case you have noticed. go on from where you left off, please. no, thank you, sir. come on. don't say no. do say you'll accept it, just to please me.

i shall be most upset if you don't. look. here are some rather nice ones. and it will please madame. she keeps some out on show on purpose, you know? no. listen, i couldn't wear it. you're thinking what they will say when you go home wearing a new hat. well, now, can i tell you what to do? shall i tell you what to say when you get home? no. no, i couldn't wear it because, well, as you see, you should have already noticed. that you're in mourning. yes, of course. please forgive me. of course, i beg your pardon.

believe me, i am most profoundly sorry. stop. please don't say another word. i really ought to be thanking you. there's no need for you to feel so very sorry or upset. i, too, you understand, i, too, must forget that i'm dressed like this. hold it. stop there. oh, don't write that down. leave out that last bit. it's going very well. very well, indeed. oh, yeah. then you go on as we arranged. it is rather delightful that bit where he offers her the hat, don't you think? well, the best bit's coming now. oh, why aren't we going on? please be patient just for a little while. of course, it will have to be treated rather lightly. and put over slickly. well, of course, there's nothing difficult about it at all. shall we try it now?

oh, sure. i'll get ready for my entrance. now, the scene between you and madame pace is finished. i'll get down to writing them properly afterwards. you're standing-- where are you going? just going to put this hat on. oh, good. you're standing here with your head bowed down a bit. but she isn't dressed in black. i shall be dressed in black, and much more becomingly than you are. shut up, please. and listen. you'll learn something. now, let's get started. action. good afternoon, miss-- no, no. shut up, please, and stop that laughing. we'll never get anywhere if we go on like this. oh, forgive me. please forgive me. but you see, this lady, she stands just where you put her. she doesn't budge an inch. but if she's meant to be me, i can assure you, if i heard anybody saying, "good afternoon, miss" to me

in that way and in that tone of voice, i'd burst out laughing. so i had to, you see? that's exactly it. i mean, his manner, the tone of voice. to hell with your manner and your tone of voice. kindly stand aside and let me get a look at this rehearsal. now, if i'm to play an old fellow who's coming into a house of a rather doubtful character-- don't take any notice of him, please. now, start again. go on, start again. it's going very nicely. well? good afternoon, miss. good afternoon. mm. "this won't be the first time, i hope." this won't be the first time, i hope. not "i hope." will it, will it. you say "will it?" it's a question. i'm sure she said hope.

well, hope or will it or whatever it is, no matter. go on, please. go on. go on. oh, there was one thing. i don't think it ought to be quite so heavy. no. hold on. i'll show you what i mean. watch me. good afternoon, miss. good afternoon. surprise, fear and satisfaction. it won't be the first time will it, that you'd be in here? --then you'll say, "no, sir." it must be a little more flexible, a little more supple. no, sir. you've been here before, more than once. wait a minute.

you must let her get her nod in first. you've been here before, down. oh my god. what's the matter? oh, nothing, nothing. that's your cue. carry straight on. more than once? well, dear, come along. may i take off your hat? [laughs] once and for all, will you shut up? i will not stand here and made a fool of by that woman. neither will i. let's call the whole thing off. the trouble with you is you've got no manners. you go too far. oh, you're quite right. you're quite right. but, please, you must forgive her. why do you want me to forgive it? it's absolutely disgusting the way she's behaving. yes, but believe me, believe me, it has such a strange effect. strange, what do you mean? straight up. what's so strange about it? i admire your actors, that gentleman there and that lady, but the truth is they're certainly not us.

well, i should hope not. how can they be yo if they're actors? just so, actors. i mean, they play our parts very well, both of them. but when they act, to us, it seems as if they're doing something different. they want to be the same but all the time they just aren't. and how aren't they the same? what are they then? something that becomes theirs and no longer ours. but that's inevitable. i told you that before. i understand. i understand that. welllet's hear no more on the subject. we'll run through it later on by ourselves in the usual way, hmm? i've always had a strong aversion to holding rehearsals with the author present. he is never satisfied. now, let's make a start and let's see if we can have no more laughing. i shan't laugh anymore, i promise you.

my big bit's coming now. just you wait and see. well, then. mm-hmm. when you say, "please don't give another thought to what i said. i, too, you understand," you come in immediately with, "i understand, i understand," and at once ask-- what? what does he ask? why you're in mourning. oh, no. that's not it at all. listen, when i said to him, "i must no longer think of my being in mourning," do you know what his answer was? he said, "well, then. "let's take this little frock off at once, shall we?" oh, that would be wonderful, wonderful. that would bring the house down. but it's the truth. and what's the truth got to do with it? acting is what we're here for. the truth's all very well but only up to a point. what do you want then?

you'll see, you'll see. leave everything to me. no, i won't. what you want to do, no doubt, is to concoct a romantic, sentimental little affair out of all my disgust, out of all the reasons, each more cruel, each viler than the other as to why i am this is sort of woman, why i am, what i am. an affair with him-- he asks me why i am still in mourning and i reply with tears in my eyes at my father died only two months ago. no, no. he must y what he said then. "well, then let's take this little frock off at once, shall we?" and i, with my heart still filled with grief for my dead father, i went behind there. do you understand? there, behind this screen. and then, with my fingers trembling with shame and disgust, i took off my frock, undid my brassiere--

for god's sake, what are you saying now? the truth, the truth. yes, it may very well be the truth. i'm not denying it. and i understand. i fully appreciate all your horror. but you must understand we simply cannot put this sort of thing on the stage. oh, you can't, can't you? well, thanks very much. if that's the way things are, i'm going. no, no. now, look-- i'm going. i'm not stopping here. you worked it out between you, didn't you? the pair of you, you and him, you worked out in there what was gonna be possible on the stage. well, thanks very much. i understand. he wants to jump to the bit where he can present his spiritual torments. but i want to present my own drama, mine, mine. ah, now, there we have it, your drama. now, look, and you'll have to forgive what i'll say, but it's not only your part that comes under consideration. each of the other characters has his drama too. he has his and your mother has hers. we can't have one character coming along like this and overshadowing all the rest. each character must be contained in one harmonious picture

and presenting only what is proper to present. i'm very well aware that each of you carries a complete life within and that he wants to put it up before the whole world. but it's here that we run into difficulties, you see. how are we to present only what is absolutely necessary and at the same time to be able to hint at all the rest of the secret lives of the characters? it could all be very pleasant if each character could have a nice little monologue, or without making any bones about it, simply give a lecture in which he tells the audience all that's bubbling and boiling away inside of him. you must restrain yourself. and believe me, it's in your own interests. because all this fury, all this exasperation, all this disgust-- makes a bad impression. and particularly,

and you'll pardon me for saying this, as you've confessed that you've had other men before him at madame pace's, and more than once. yes. that's true. but you must understand that those other men meant him for me just as much as he himself does. what? the other men mean him-- now, well, what do you mean? well, isn't it true in the case of someone who's gone wrong that the person who's responsible for the first fault is responsible for all the faults which follow? and in my case, he is responsible, has been ever since before i was born. well, look at him and see if it isn't true. oh, very well then. and does this terrible weight of remorse that is resting on his spirit seem so slight a thing to you? give him a chance of acting it. how? how can he act all his noble remorse,

all his spiritual torment if you want to spare him all the horror of one day finding in his arms after he had asked her to take off her frock, her grief still undulled by time, the horror of finding in his arms that child, a woman now and a fallen woman already, that child that he used to go and watch as she came out of school? no, no. [crying] at the moment, you see us here before you unknown as yet by the public. tomorrow, you will present us as you wish in your play, in your own way. but would you really like to see our drama, to see it flash into life as it did in reality? i couldn't wish for anything better, so i would like to present as much of it as possible. well, then, ask my mother to leave us.

no. no, don't you allow them to do it. don't allow them to do it. it's only so that i can see how it goes. yes, but i can't bear it. i can't bear it. but this has already happened. i don't understand. no. no, it's happening now, and it happens all the time. my torment is no pretense, sir. i'm alive and i'm present always at every moment of my torment, a torment which is forever renewing itself, always alive and always present. but those two children there. haveou heard them say a sile word? they can no longer speak. they cling to me still in order to keep my torment living in present. but for themselves, they no longer exist. they no longer exist. and she... she's run away.

she's run away from me and is lost. lost. and if i see her here before me now, it's for this reason and this reason alone, to rew at all times, rever to bring before me again, present and living, the anguish i have sfered on her account too. the eternal moment as i've told you, sir. but she... she is here in order to fix me, to hold me suspended throughout all eternity in the pillory of that one fleeting, shameful moment of my life. she cannot renounce her role. and you, sir, cannot really spare me my agony. just so, but i didn't say i wouldn't present it. as a matter of fact,

it would form the subject matter of the first act up until the moment when she surprises you. that is right because that is my sentence. all our horror, all our suffering which must culminate in her cry. i can still hear it ringing in my ears. that cry sent me mad. you can play me as you like, dressed, if you like, provided that my arms are bare, at least, just my arms. because you see, standing there with my head resting on his chest like this and my arms around his neck, i could see a vein pulsing away in my arm. and then, just as if... as if that vein alone gave me a sense of horror, i shut my eyes tight and buried my head in his chest.

scream, mummy, scream. scream as you screamed then. no. no! she's my daughter! oh, you brute, you brute! she's my daughter! [screaming] can't you see she's my daughter? [screaming] oh, excellent, excellent. and then a fade to black, fade down. yes. because that is how it really happened. oh, yes, we must have a break there,

then a fade down, a fade to black. no, damn fool. when i s, "iant a fade," i mean i want a fade and he really does go and fadet. that was absolutely marvelous, very good indeed. that'll get them. no ifs or buts about it. oh, yes. that cry, you see, and then a fade to black. we've got something in that first act or i'm a dutchman. through his imagination, pirandello makes his chosen profession his clay, and with it molds his play within a play. he contrasts light with shadow. he populates his stage with the working elements of his craft: words, ideas, actions and directors, characters, actors.

his play stands as a complete metaphor for the conflict between the real and the unreal. it illustrates the fragile, transcending nature of the illusion of reality. over 300 years ago, shakespeare's aging philosopher, prospero, concluded, "our revels now are ended. "these our actors, as i foretold you, "were all spirits, and are melted into air, "into thin air: and, like the baseless fabric of this vision, "the cloud-capped towers, the gorgeous palaces, "the solemn temples, the great globe itself, "yea, all which it inherit, shall dissolve, "and, like this insubstantial pageant faded, "leave not a rack behind. "we are such stuff as dreams are made on;

and our little life is rounded with a sleep." this was a coproduction of miami-dade community llege anbritish broadcasting corporation, british open university. captioning performed by aegis rapidtext