Ciascuno a suo modo

Debut: Turin, Teatro Carignano, 9 October 1961 (RaiTeche movie)

Direction Luigi Squarzina
Assistant director Paolo Giuranna
Set and costume Pier Luigi Pizzi
Production Teatro Stabile di Genova

Characters and performers

The true drama

La Moreno, that everyone knows who he is Paola Mannoni
The baron Nuti Claudio Camaso

The comedy on the stage

Delia Morello Lydia Alfonsi
Michele Rocca Turi Ferro
The old lady Donna Livia Palegari Karola Zopegni
First old friend / guest Nico Pepe
Second old friend / guest Pier Paolo Porta
The thin young man / guest Giorgio De Virgiliis
First young bored / guest Antonio Meschini
Second young bored / guest Emilio Cappuccio
First young lady / guest Carla Greco
Second young lady / guest Dina Braschi
Doro Palegari, son of Donna Livia Palegari / guest Mario Valdemarin
Diego Cinci, his young friend / guest invitato Alberto Lionello
Filippo, an old waiter / guest Vittorio Penco
Francesco Savio, the contradictor / guest Arnaldo Ninchi
His friend Prestino / guest Eros Pagni
The fencing master / guest Arrigo Forti

The momentary in the reduced of the theater

The director of the theater Gino Bardellini
The intelligent spectator Paolo Giuranna
The woman on stages Nuccia Stancanelli
Favorable spectators Giorgio De Virgiliis
Ugo Fangareggi
Carla Greco
Nuccia Stancanelli
Opponents spectators Franco Aloisi
Dina Braschi
Giulio Brogi
Arrigo Forti
Giancarlo Fortunato
Pasquale Moruzzo
The administrator of the Company Luigi Carubbi
Critics of the drama Franco Carli
Adolfo Fenoglio
Enrico Ardizzone
Luigi Carubbi
An old failed author Vittorio Penco
A writer who disdains writing Pier Paolo Porta
The peaceful spectator Nico Pepe
The worldly spectator Gualtiero Isnenghi
What stands out Guido Marchi
Other women spectators Elvira Cortese
Rita Di Lernia
Fiorella Prandi
Emanuela Fallini
Miranda Poggi
Sandra Rivadossi
Other spectators men Mario Gallo
Francesco Morillo
Gianni Bertoncini
A reporter Emilio Cappuccio
An usher Luigi Dameri
Another usher  Nino Bellet
A mask  Laura De Marchi

Squarzina fabricated a show staged only twice in Italy because of the complexity of the text and the abundance of actors (forty-three), making the most relevant, novel choices with regard to other Pirandellian productions. He goes beyond the traditional Pirandellian interpretation of the opposition between “life” and “form,” “appearance” and “substance,” “rational” and “irrational,” proposing a new way of looking at Pirandello: not a relativistic so much as a quantum view, a probabilistic view, shown by the sense of risk expressed especially by the intermissions. He thus highlights the proximity to futurists: the play as an event, but available for replication every day; the extension of scenic action to the parterre; the author’s provocative presence in the theatre: audience involvement in the acting, the Dadaist nonsense and the random writing – theatre as an instrument for magnifying contradictions.

But the director is fully aware that Pirandello cannot be ascribed to the Futurist avant-garde, even though he flirts with it; he believes one can speak of Mannerism, which he includes in the show with reference to Pirandellian self-mockery.

In terms of performance, Squarzina accurately duplicated the production of Ciascuno a suo modo’s opening night staged at Milan’s Teatro Filodrammatici on 23 May 1924, using sets and costumes from the 1920s; to effectively visualise audience participation, he invented a revolving platform rotating with the movement of the audience, which then at some point merged on the stage.

The production was a triumph with audiences and critics alike; Squarzina received the Premio San Genesio for his directing work, while Genoa’s Teatro Stabile of Genova was honoured with the Premio internazionale Pirandello for best Pirandellian production.

The director would subsequently accompany the production with his essay "Pirandello e la maniera: Ciascuno a suo modo e il teatro totale delle avanguardie” [“Pirandello and la maniera: ‘Each in his own way’ and the total theatre of the avant-gardes”], constituting a mature conceptual elaboration; later on, in 1983-84, he would dedicate a single-theme course at DAMS in Bologna to Pirandelli’s text.

The Rai news service

We would like to thank teatro Nazionale - Teatro Stabile di Torino and Teatro Nazionale di Genova for the use of photographic material.