Too often interpreted as a large folkloric fresco, the Sagra del Signore della Nave (1925), instead, constitutes a decisive turning point in Pirandello’s artistic career: not only does this pièce move away from bourgeois circles that until then had served as a privileged background to the works of the agrentine playwright, but with it he adheres in fact to that barbaric primitivism marked by cruel ancestral rites that is found in so much of the European culture between the late nineteenth and early twentieth century, from D’Annunzio to Stravinsky.