Italian dramatist, novelist, and short story writer Luigi Pirandello, anticipating Absurdist theater, explores mutual incomprehension, his plays reflecting the spiritual confusion of the postwar era.

With the help of Mussolini, Pirandello had in 1925 assumed the artistic direction and ownership of the Teatro d'Arte di Roma, founded by the Gruppo degli Undici.

Mussolini's support brings him international fame and a worldwide tour, introducing his work to London, Paris, Vienna, Prague, Budapest, Germany, Argentina, and Brazil.

Pirandello's conception of the theater undergoes a significant change at this point.

The conception of the actor as an inevitable betrayer of the text, as in the Sei Personaggi in Cerca d'Autore (Six Characters in Search of an Author) of 1921, has given way to the identification of the actor with the character that he plays.

The company takes their act throughout the major cities of Europe and the Pirandellian repertoire becomes increasingly known.

Between 1925 and 1926, Pirandello's last, and perhaps greatest, novel Uno, Nessuno e Centomila (One, No one and One Hundred Thousand) is published in episodes in the magazine Fiera Letteraria.