Bertolt Brecht and Luigi Pirandello have been two major phenomena in the European theatre-scape. Set poles away from the Greek narrative structure and neatly demarcating tragedies from comedies - not much deviated from, by the Shakespearean oeuvre in the form and treatment -- both Brecht and Pirandello have been bent into unraveling the society's underbelly and exposing the ills and the misbegotten. Both these playwrights are darlings of the eastern metropolitan spectators and are showcased with loving care to its theatre cognoscente from time to time.
In the two plays under review, while Brecht cocks a snook at the warped society of his time and launches a virulent "Theatre of Protest" on his own, Pirandello delves into a shimmering, psychedelic world and is indeed on the same plane as Jean Genet and Samuel Becket, hovering close to "Theatre of the Absurd" that materialized only in the subsequent century.
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