Almost ten years after "Six Characters in Search of an Author," Pirandello writes "Tonight We Improvise" (1929), which moves on the same level as the most famous of the Sicilian playwright's works: the relationship between Art and Life.

In "Six Characters," the heroes, abandoned halfway by the author, sought to live, to complete their lives on stage. Pirandello thus implied the power of artistic creation, which, as soon as it comes to life, escapes the control of its creator and acquires its own autonomous life.

Something similar, but from the reverse side of the mirror, happens in "Tonight We Improvise." Here, a theater troupe, led by the director - its manager, tries to "construct" a theatrical drama, starting from a narrative (by Pirandello himself, of course). The director wants to subjugate the story, the characters, and the actors to his own perceptions of theater, to well-organized forms and formulas, to the effects of well-organized theatricality. But the actors "dress up" their roles so much, the roles "enter" so much into the actors, that they, angered by the director's prescriptions, drive him out of the theater and remain alone to live the parts they portray. They are no longer actor A, character B, role C - they are the characters of the story, a Story of Jealousy, "the most terrible jealousy that exists, the jealousy for the Past," which overwhelms a man for his woman and makes him obsess over the thought that she may dream of the time of her carefree youth.