Pirandello and Picasso: an Analysis of so It is (if You Think So) as a Cubist Piece of Literature

In exploring the intersection of literature and visual art, the works of Luigi Pirandello and Pablo Picasso emerge as significant reflections of subjective reality and truth. Both artists challenge the concept of a singular, absolute truth through their respective mediums. In Pirandello's play Right You Are (If You Think So), and in Picasso's Cubist paintings, the representation of multiple perspectives reveals the complexity of human experience and understanding. This essay analyzes how Pirandello's work can be viewed as a Cubist piece of literature, emphasizing the importance of subjective reality and the fragmentation of identity.

Cubism: A New Perspective on Reality

Cubism, co-founded by Picasso and Georges Braque in the early 20th century, revolutionized the art world by rejecting traditional single-point perspective. This art movement is characterized by the fragmentation of objects into geometric shapes and the simultaneous presentation of multiple viewpoints. As Ian Chilvers notes, Cubism allows “many different aspects of an object [to] be simultaneously depicted in the same picture,” thus denying a unified perspective (Chilvers). Through this innovative approach, Cubist artists emphasized the subjective nature of perception and encouraged viewers to engage with art on a deeper level.

Gertrude Stein, in her analysis of Picasso, highlights the significance of personal perception, stating, “when [Picasso] ate a tomato the tomato was not everybody’s tomato… but to express the thing as he was seeing it” (Stein). This focus on individual experience aligns closely with Pirandello’s exploration of character and truth in his play. Both artists illuminate the idea that reality is not fixed but rather a collection of personal interpretations.

Pirandello’s Cubist Approach to Character

In Right You Are (If You Think So), Pirandello employs a Cubist approach by presenting characters through the lens of various perspectives. The character Lamberto Laudisi articulates this idea when he asserts, “I am really the way you see me… but this does not stop me from also being what I am to your husband, your sister, your niece…” (Pirandello 148). This statement encapsulates the essence of fragmented identity, where individuals are perceived differently by different people, each perspective holding its own validity.

Mrs. Ponza serves as another poignant example of this fragmentation. Mr. Ponza views her as his second wife, while Mrs. Frola perceives her as her daughter. The conflict surrounding Mrs. Ponza's identity drives the narrative, with each character clinging to their version of truth. When Mrs. Ponza exclaims, “Yes, I am the daughter of Mrs. Frola… and Mr. Ponza’s second wife… and for myself no one!” (Pirandello 205), she embodies the Cubist notion that identity is not singular but multifaceted. Her final words, “I am the one you believe me to be,” resonate with Picasso’s emphasis on subjective experience, highlighting the idea that identity is shaped by perception.

The Fragmentation of Identity

The concept of performativity further enriches the analysis of fragmented identity within Pirandello's work. In Act Two, Scene Three, Laudisi’s interaction with his own reflection emphasizes the complexity of self-perception. He questions, “which one of the two of us is crazy?” (Pirandello 173), suggesting that the pursuit of a singular identity is a futile endeavor. This mirrors the fragmented nature of Cubism, where multiple interpretations coexist, challenging the viewer to engage with the artwork from diverse angles.

Even in instances where a majority agrees on a particular perspective, individual identity remains inherently fragmented. People adapt their behavior and presentation based on their audience, further complicating the search for a unified self. The table below summarizes key aspects of this fragmentation in both Pirandello's characters and Picasso's art:

The Importance of Subjective Reality

The essence of Pirandello’s play and the principles of Cubism converge in their shared emphasis on subjective reality. Laudisi highlights the challenges of establishing an objective viewpoint, stating, “[Mrs. Frola] has created for him, or [Mr. Ponza] for her, a fantasy that has the same consistency of reality itself… This reality of theirs can never be destroyed by any document” (Pirandello 170). The characters find solace in their subjective realities, illustrating that the pursuit of an absolute truth can lead to discord.

Ultimately, the interplay between different perspectives in both Right You Are (If You Think So) and Cubist art underscores the need for empathy and understanding. Respecting the subjective realities of others allows for a richer, more nuanced understanding of the world. As Pirandello suggests, acknowledging that others may see and interpret reality differently is crucial in capturing a fuller picture of existence.

Conclusion

In conclusion, Pirandello’s Right You Are (If You Think So) can indeed be interpreted as a Cubist piece of literature. Through the fragmentation of characters and the exploration of subjective truth, Pirandello aligns closely with the principles of Cubism. Both artists challenge the notion of a singular truth, instead advocating for the appreciation of multiple perspectives. The play ultimately serves as a reminder that understanding and respecting differing viewpoints is essential in our quest for meaning and connection in a complex world.

Works Cited

Chilvers, Ian. "Cubism." The Oxford Dictionary of Art and Artists. Oxford University Press, 2015.

Glaves-Smith, John, and Ian Chilvers. "Cubism." A Dictionary of Modern and Contemporary Art. Oxford University Press, 2015.

Pirandello, Luigi. Right You Are (If You Think So). Six Characters in Search of an Author and Other Plays, Penguin Books, London, 1995.

Stein, Gertrude. Picasso. Courier Corporation, 1938.