Nobel Laurate 1997 Dario Fo

Nobel Laurate 1997 Dario Fo

Dario Luigi Angelo Fo (1926–2016) was a renowned Italian playwright, actor, and political campaigner for the Italian left wing. He received the 1997 Nobel Prize in Literature and was one of the most widely performed contemporary playwrights globally. His work often involved improvisation and revived "illegitimate" forms of theatre, including medieval giullari and commedia dell'arte.9 

Short Biography 

Dario Luigi Angelo Fo (1926–2016) was born in Leggiuno, Sangiano, a small town in the province of Varese in northern Italy. 

After WWII, he studied architecture at the Brera Academy and the Politecnico di Milano, but left without graduating.   

He began his career in the 1950s, working in radio and performing in various revues. In 1954, he married actress Franca Rame, who would become his lifelong collaborator and muse. 

In the 1960s, his variety show Canzonissima on RAI was censored, leading to a 14-year ban from Italian TV. 

One of his most famous early plays, "Mistero Buffo" (Comic Mystery), premiered in 1969. 

In 1970, he and Rame founded the theater collective "La Comune," which became a platform for producing politically charged works. 

One of their most notable collaborations from this period was "Accidental Death of an Anarchist" (1970), a play based on the true story of an anarchist who died under suspicious circumstances while in police custody. 

Despite Rame's assault by fascists in 1973, the duo continued to perform. In 1974, they established the Palazzina Liberty community centre in Milan. Fo's play Non Si Paga! Non Si Paga! (Can't Pay? Won't Pay!) became internationally famous. 

In 1977, he wrote and directed "Il Teatro di Dario Fo," a television series that brought his unique brand of political theater to a broader audience. 

In 1980, the couple were barred from performing in the U.S. at the Festival of Italian Theatre. In 1981, after being evicted from Palazzina Liberty, they performed Tutta casa, letto e chiesa and Clacson, trombette e pernacchi in Milan. 

In 1983, Italian censors restricted Coppia aperta, quasi spalancata due to Rame's monologue The Rape. The same year, he and Rame were again denied entry to the U.S. for alleged terrorist support. 

In 1987, he faced Vatican criticism for a controversial TV performance. In the late 1980s, he addressed issues like the Tiananmen Square Massacre and wrote Il Papa e la strega. 

In the 1990s, his works tackled contemporary issues, such as Zitti! Stiamo precipitando!, Johan Padan and the Discovery of the Americas, and Sesso? Grazie, tanto per gradire!. 

His later works, such as "The Pope and the Witch" (1989) and "The Devil with Boobs" (1997), continued to address contemporary issues with his characteristic wit and irreverence. 

He suffered a stroke in 1995 but quickly recovered, continuing to create influential plays until his death. 

He was awarded Nobel Prize in Literature in 1997. 

In 2001, Dario Fo became Satrap of the Collège de ‘Pataphysique. In 2004, he was sued by Forza Italia senator Marcello Dell'Utri over his play The Two-Headed Anomaly, which mocked political figures like Silvio Berlusconi and Vladimir Putin. 

In 2005, he ran for Mayor of Milan, opposing Berlusconi's influence. He received 23.4% in the 2006 primary but lost to Bruno Ferrante. 

Franca Rame passed away in 2013, and Fo continued his work, publishing his final play, "Una Callas dimenticata" (A Forgotten Callas), in 2014. 

He died on 13 October 2016 in Milan at the age of 90 from a respiratory disease. 

His Best Two Works 

Among his vast repertoire, two works stand out for their impact and enduring relevance: Accidental Death of an Anarchist and Mistero Buffo. 

Accidental Death of an Anarchist 

Accidental Death of an Anarchist is perhaps Fo's most famous play, inspired by the 1969 incident where an anarchist, Giuseppe Pinelli, fell to his death from a police station window under suspicious circumstances. 

This farce is a biting satire of government corruption and police brutality. 

The protagonist, a "madman," uses his wit and disguise to expose the absurdity and lies surrounding the anarchist's death. 

The play's rapid dialogue, slapstick humor, and sharp social commentary make it a powerful critique of institutional abuse. 

Mistero Buffo 

Mistero Buffo is another landmark in Fo's career, showcasing his talent for blending traditional performance art with contemporary critique. 

This one-man show revives the medieval jester, or giullare, to deliver a series of monologues that reinterpret biblical stories and historical events. 

Through humor and improvisation, Fo makes these stories accessible and engaging, while also delivering pointed social and political commentary. 

The play's innovative use of language, mixing dialects and nonsensical sounds, breaks down barriers between performer and audience, creating an interactive and dynamic experience. 

Both plays reflect his commitment to addressing political and social issues through the medium of theatre, using satire to provoke thought and inspire change. 

His Contributions 

His work is characterized by its political satire, social commentary, and innovative use of traditional theatrical forms. 

His innovative approach brought these styles back to the forefront of contemporary theatre, blending historical techniques with modern issues. 

He used his plays to address pressing issues such as corruption, abuse of power, and social injustice. 

His ability to combine humor with serious critique allowed his messages to reach a broad audience, making complex issues accessible and engaging. 

Beyond his theatrical work, Fo was an active political campaigner, particularly for left-wing causes. He and his wife, Franca Rame, were involved in various social and political movements, using their art to support and promote change. 

Criticisms 

His play Mistero Buffo faced backlash for its irreverent treatment of biblical stories and criticism of the Catholic Church. Religious authorities, including the Vatican, condemned it as blasphemous. 

His plays frequently targeted right-wing politicians and institutions, leading to accusations of bias and partisanship. Critics argued that his works were sometimes overly didactic, prioritizing political messages over artistic subtlety. 

His open support for the Italian Communist Party and later the Five Star Movement also polarized opinions about his artistic integrity. 

Fo's satirical style often included personal attacks on public figures, which garnered significant controversy. 

His provocative content resulted in frequent clashes with authorities and censorship. In Italy, his works were often censored or banned from television and public performance, reflecting the contentious nature of his material. 

Some critics accused Fo of hypocrisy, arguing that his critique of the powerful and privileged sometimes overlooked his own status and influence. 

Conclusion 

Dario Fo, a provocative and influential playwright, used satire to challenge authority and address social issues. Despite facing significant controversy and censorship, his innovative work and fearless political commentary left an indelible mark on contemporary theatre and political discourse. 

Frequently Asked Questions (FAQ) 

What are Dario Fo's most famous works? 

Two of his most famous works are Accidental Death of an Anarchist, a farcical critique of police corruption, and Mistero Buffo, a one-man show using medieval jester traditions to satirize biblical stories and historical events. 

How did Dario Fo's political views influence his work? 

Fo's left-wing activism deeply influenced his plays, which often addressed issues like government corruption and social injustice. His satire aimed to provoke thought and inspire change. 

Why was Dario Fo a controversial figure? 

Fo's provocative content and political critiques, especially of the Catholic Church and right-wing politicians, led to frequent controversy, censorship, and legal challenges. 

What impact did Dario Fo have on contemporary theatre? 

Fo revitalized traditional forms like commedia dell'arte, integrating them with modern political themes. His innovative satire set a new standard for political theatre globally.