Selfhood, Immunity, and the Biological Imagination

The technique employ by the playw right is extremely theatrical and has a long hitarradiddle--the play-within-a-play was used often by Shakespe atomic number 18 and can be found in the piece of full treatment of other(a) major dramatists. The playwright often uses much(prenominal) a device to comment on the process of playwriting itself, wake within a performance of a play the deed of conveyance of creating and presenting

some vision of realisticity in dramatic form. Pirandello's work makes this self-reflective structure the basic substance of the play and uses it to raise questions as to how we can differentiate when reality ends and illusion begins, or the other way round. The selfhood of his characters is less an issue given that they ar types and are overly actors assuming selves not their own.

Pirandello mixes reality and illusion from the source as he presents what is supposed to be a manufacturer and cast rehearsing the second act of Pirandello's own play Rules of the Game. What they are rehearsing, then, is a real play, and such rehearsals most certainly would arrive shoot forn place regarding this play at some clock in the past. Pirandello fictionalizes reality and thus creates a "real" present moment on the stage that the audience is supposed to be allowed to be privy to, when in flummoxs another group of people who state to be real people looking for an author to tell their story and so dramatize reality. Yet these people are not real any more than those rehear

C. Theme in Six Characters in appear of an Author and Candide

3. Identity changes over course of story

Even in that context, are these people real or actors? The producer alike(p)s their story and wants it retold with actors playing the "real" people who just acted that story appear for him. This makes them real people pretending to be actors, while the actors who take their parts will be pretending to be real people. In this case, the "real" people being portrayed also serve as an audience to watch the actors pretending to be them, and they comment that the actors are not as real as they are themselves.

The play is a failure because the characters cannot find the right identity:

"It is demonstrable," said he, "that things cannot be otherwise than they are; for as all things have been created for some end, they must necessarily be created for the best end" (Voltaire 332).

This response exactly anticipates his final stimulus in the conte, in its form as in its status: theorizing is all very well, just practical matters must come first (Mason 83).

In the course of the story, even the illusion that Candide is an exonerated is torn away as he becomes a murderer and performs other actions of self-protection that shows how interaction with society shapes and changes character and identity. parliamentary law first gives Candide an identity that is no identity at all--illegitimate child, with no family, no prospects, no past and no future. This identity is like that of the actors in Pirandello--it is imposed from above and is illusory. Candide is shaped by it, just now he can also escape it. In that regard, he has more choice than Pirandello's actors. Identity in both works is in part a mask presented to the outside world, but true identity should be seen as what the individual thinks of him or herself and specifically what the individual feels attached to outside him or herself.

From the start, he has no fixed place in the universe, for he is a bastard and mothe
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