Dario Fo
Dario Luigi Angelo Fo was an Italian playwright, actor, theatre director, stage designer, songwriter, political campaigner for the Italian left wing and the recipient of the 1997 Nobel Prize in Literature. In his time he was "arguably the most widely performed contemporary playwright in world theatre". Much of his dramatic work depends on improvisation and comprises the recovery of "illegitimate" forms of theatre, such as those performed by giullari and, more famously, the ancient Italian style of commedia dell'arte.
His plays have been translated into 30 languages and performed across the world, including in Argentina, Bulgaria, Canada, Chile, India, Iran, the Netherlands, Poland, Romania, South Africa, South Korea, Spain, Sri Lanka, Sweden, the United Kingdom, the United States, and Yugoslavia. His work of the 1960s, 1970s and 1980s is peppered with criticisms of assassinations, corruption, organised crime, racism, Roman Catholic theology, and war. Throughout the 1990s and 2000s, he took to lampooning Forza Italia and its leader Silvio Berlusconi, while his targets of the 2010s included the banks amid the European sovereign-debt crisis. Also in the 2010s, he became the main ideologue of the Five Star Movement, the anti-establishment party led by Beppe Grillo, often referred to by its members as "the Master".
Fo's solo pièce célèbre, titled Mistero Buffo and performed across Europe, Asia, Canada and Latin America over a 30-year period, is recognised as one of the most controversial and popular spectacles in postwar European theatre and has been denounced by Cardinal Ugo Poletti, Cardinal Vicar for the Diocese of Rome, as "the most blasphemous show in the history of television". The title of the original English translation of Non Si Paga! Non Si Paga! has passed into the English language, and the play is described as capturing "something universal in actions and reactions of the working class".
His receipt of the 1997 Nobel Prize in Literature marked the "international acknowledgment of Fo as a major figure in twentieth-century world theatre". The Swedish Academy praised Fo as a writer "who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden". He owned and operated a theatre company. Fo was an atheist.
Early life and education
An eldest child, Fo was born at Sangiano, in Lombardy's Province of Varese, near the eastern shore of Lake Maggiore. His younger brother Fulvio would become a theatre administrator, their younger sister Bianca Fo Garambois, a writer. Their mother, Pina Rota Fo, from a peasant background, wrote a book of reminiscences of the area between the wars, Il paese delle rane. Their father, Felice, was a station master for the Italian state railway, and the family frequently moved along the Swiss border when Felice was transferred to new postings. Felice, a socialist, was also an actor, appearing for an amateur theatre company in works by Ibsen among others. Fo learned storytelling from his maternal grandfather and Lombard fishers and glassblowers. Among the places in which Fo lived during his early years was Porto Valtravaglia, a glassblowing colony in which, it has been claimed, resided the highest percentage of insane people in Italy.In 1942, Fo moved to Milan to study at the Academy Brera Academy. However, the Second World War intervened. At age 16, Fo was part of the last generation of soldiers drafted by the fascist army of Mussolini's Repubblica Sociale Italiana. Years later, when questioned about his affiliation, Fo explained that he initially opted to adopt a low profile because his family was active in the anti-fascist Resistance. Fo secretly helped his father to smuggle refugees and Allied soldiers to Switzerland by disguising them as Lombard peasants. His father is also thought to have helped smuggle Jewish scientists to the safety of Switzerland. As the end of the war approached, Fo joined an anti-aircraft division of the navy, anticipating an immediate discharge due to a shortage of munitions. He was mistaken and was instead dispatched to a camp in Monza at which Benito Mussolini himself arrived. Fo soon deserted with the aid of false documents and wandered for a while before joining a parachute squadron. He then deserted this as well, prompting a further unsuccessful search for the Resistance movement during which he slept rough in the countryside.
His statements were widely denied by the testimonies of both partisans and his fascist comrades according to whom Fo participated, with the task of carrying bombs, in the roundup of Val Cannobina for the reconquest of Ossola, as well as by a sentence of the court of Varese on 15 February 1979.
After the war Fo returned to the Brera Academy, also taking up architectural studies at the Politecnico di Milano. He started a thesis on Roman architecture, but becoming disillusioned by the cheap impersonal work expected of architects after the war, he left his studies before his final examinations. He had a nervous breakdown; a doctor told him to spend time doing that which brought him joy. He began to paint and became involved in the piccoli teatri movement, in which he began to present improvised monologues.
He considered his artistic influences to include Beolco, Brecht, Chekhov, De Filippo, Gramsci, Mayakovsky, Molière, Shaw and Strehler.
Career
1950s
In 1950, Fo asked to work with Franco Parenti on a variety show performed by radio actors, beginning a collaboration that would last until 1954. Fo delighted audiences with stories of his upbringing, which Parenti was very impressed by, describing them as "absolutely original, with an extraordinary humour, wit and personification. When the show was over we'd go for walks round the lake and he'd tell me more stories. In this way we originated a project in which we would work together on a new type of revue, one which didn't copy reality, but which involved people and took a stand."In late 1951, after Fo had gained experience with Parenti, Italian national radio station RAI invited Fo to perform a solo Saturday evening comedy series Poer nano, airing after Parenti's Anacleto the Gas Man. Fo created 18 adult fairy tale monologues adapted from biblical and historical tales. The series also featured Shakespearean tales with various twists, such as a version of Hamlet in which the titular character kills his father to continue an affair with his mother; Ophelia is portrayed as Hamlet's uncle's trans mistress, while Horatio plays the ghost of Hamlet's father dressed up as a sheet and only appears when Hamlet is drunk. The series also featured an albino Othello and a sadistic Juliet who keeps Romeo in her garden with savage dogs. Scandalised authorities cancelled the show. Nevertheless, Fo performed it on stage at the Teatro Odeon in Milan in 1952, which allowed him to develop the gesture and action not required for radio. Also in 1952, Fo performed Cocoricò with Giustino Durano, which featured a 20-minute sketch focusing on the plight of black people in the United States.
File:Dario Fo, Franca Rame, Jacopo Fo.jpg|thumb|right|250px|Dario Fo and Franca Rame with their newborn son Jacopo
In 1953, Fo—in collaboration with Parenti and Durano in their own revue company which they called I Dritti —co-wrote, co-directed and designed the sets and costumes for a revue called Il dito nell'occhio. In these early years, Fo has been influenced by the Italian tradition of the actor-author, just like Ettore Petrolini. The title of his first revue referred to that of a column in the Italian Communist Party newspaper l'Unità. Il dito nell'occhio consisted of 21 sketches similar in style to Poer nano but dealing instead with a satirical history of the world. The last performance, in which Fo played a supporting role, was a box-office success and went on tour after 113 performances at Milan's Piccolo Teatro. 1953 also brought the beginning of Fo's songwriting. He collaborated with Fiorenzo Carpi; all of Fo's plays as far as 1967 would feature Carpi's music. "La luna è una lampadina", their first song, is one of Fo's most famous.
Fo met Franca Rame, daughter of a theatrical family, when they were working in the revue Sette giorni a Milano. They became engaged, and married on 24 June 1954. They had a son, Jacopo, who would also become a writer.
With the break-up of I dritti due to financial failure, Fo and family moved to Rome where he hoped to gain work as a screenwriter in the cinema. There they lived next door to Roberto Rossellini and Ingrid Bergman. Fo worked on many productions, including those of Dino De Laurentiis. Rame worked in Teatro Stabile of Bolzano. In 1956, Fo co-wrote and acted with Rame in the Carlo Lizzani's film Lo svitato, influenced by Jacques Tati, Buster Keaton and Charlie Chaplin. In the film, Fo plays "a disoriented hotel porter cast adrift in a neo-capitalist Milan of skyscrapers and modern technology". Other films followed.
In 1958, the couple returned to Milan when Rame was offered roles in a series of farces at the Arlecchino Theatre. Fo and Rame were subsequently based there. Fo said, "For me the lesson of the cinema meant learning from a technical point of view what audiences had already grasped: a story divided into sequences, a fast pace, sharp dialogue, and getting rid of the conventions of space and time. Working on screenplays gave me an apprenticeship as a playwright and I was able to transfer the lessons of the new technical means to the theatre".
The foundation of the Compagnia Fo-Rame dates from this time. Fo wrote scripts, acted, directed, and designed costumes and stage paraphernalia. Rame took care of the administration. The company débuted at the Piccolo Teatro, and in 1959 began a series of six full-length plays that were performed each season at the Teatro Odeon. One of these, Gli arcangeli non giocano al flipper, brought Fo and Rame national and, later, international recognition. It would be the first Fo play to be performed outside Italy—in Yugoslavia, Poland, the Netherlands, Sweden and Spain. Other successes would follow.