Now that the bold innovations of Luigi Pirandello no longer scandalize the public and his position in the theatrical history of our century has been solidified, we can better understand where, apart from originality, the deeper value of this work lies.

The main virtue of his work is, without a doubt, the way, the genuinely theatrical way, in which he succeeded in interpreting from the stage a problem that is acute for the thought and feelings of modern man: the radical uncertainty, the lack of unity, the fluidity and the contradictions of what we until now considered the most certain, stable, and unequivocal thing in the world: our 'self'.

Pirandello demonstrated through his theater how baseless this 'image' is and how much vanity lies behind the myth of objective truth. However, not to cure us of a theoretical delusion, but to reveal - like a true dramatic poet - a new tragic meaning of life: the absolute solitude of man.

Neither does our self accompany us, since it has no stability; and this pain does not belong to us, because now that we recall it, it is no longer ours, but that of an 'other' who has ceased to exist.