Literary adaption



The full article, including a comprehensive interview with Lesley Sullivan is available at the link from the foot of this page. 

Please note that this article has been cited  with the kind agreement from the Pirandello Society of America, please see this link for further information.

You can read the full interview about the work with the Pirandello Society of America Journal at this link, Interview Anne-Marie.Creamer with PSA.

The review and introduction is printed below:

Pirandello’s Unrealized Film, Treatment for Six Characters: An Interview with Film
Director and Artist Anne‑Marie Creamer
LESLEY G. SULLIVAN, University of Notre Dame

Throughout the last ten years of his life, Pirandello wrote multiple treatments for the filming of his great work, Six Characters in Search of an Author . None were ever realized. We are left with only paper trails, leading to dropped contracts, and the nostalgia for a film that could have realised Pirandello’s cinematic ideals: film has a unique ability to show the birth of artistic creation. The Treatment for Six Characters  is not a film version of Six Characters in Search of an Author ; it is a work all its own. It depicts Pirandello’s creative process: not just the writing, but the very birth of the Characters in the mind of the Author. And the Author is Pirandello himself, named. This makes the Treatment  even more interesting, as Pirandello himself becomes one of his Characters, asking to live in us. For 90 years, this film has waited.
In her 2014 film of the Treatment , Anne-.‐‑Marie Creamer, artist and art film director, walks right
into a strongly marked absence of representation, but her work does more than produce Pirandello’s unrealized film. Among other things, Creamer participates in the wider life of the Treatment  itself. Sherespects what we might call the person of the Treatment : conceived and aged and eternally unborn.

Her work reveals the Treatment  itself as one of Pirandello’s Characters, asking, like the Father in Pirandello’s original play, “to live, just for a moment, in you.” Creamer understands the great weightof that call—“We want to live!”—which weighed on Pirandello and weighs on the occupiers of theTeatro Valle Bene Comune; and her film allows us to feel that urgency as well. The absence ofPirandello’s unrealized film is at the center of Creamer’s Treatment ; it is born from this absence. It is, therefore, a pregnant absence. Creamer’s film—whose every shot quivers expectantly—both delivers and stays heavy with that pregnant space which invites creation beyond her own. It is an act of humility. Through her disciplined withholding, Creamer is participating in the mise en abyme  that she mentions: she maintains the pregnant absence that gave life to her project so that the audience, too, can give life. In this way, we—herself included—participate in Pirandello’s creative process, giving life to characters beyond us. It touches on perhaps the greatest human calling, to allow something to live through you that has life beyond you. Giving birth to something eternal: the ultimate miss en abyme . And isn’t this, after all, Pirandello’s call to us as well?Here I offer the edited transcript of my interview with Anne-.‐‑Marie Creamer on her motivations, approaches, and insights into Pirandello’s unrealized Treatment . In our exchange we discussed everything from her own interest in this piece to questions about how re-.‐‑envisioning it as a contemporary film both translates and also amplifies Pirandello’s own preoccupations and ideas. What emerges is also a testament to the ways in which adaptation can bring new life to Pirandello’s works and serve as both a faithful reproduction as well as an insightful commentary on his vision— nearly a century after the premiere of his epoch-.‐‑making play.