In honoring for the first time a writer who is also an actor and a clown, the Swedish Academy expanded the officially recognized boundaries of literature to include the language of the body and the muscular truth of slapstick.".
Dario Fo, actor, playwright, theatre director, stage designer, political activist, artist and author who, having attained international fame in theatre, produced the first of his six novels at the age of 88 -- was there any limit to his versatile genius? He was awarded the Nobel Prize for Literature in 1997, and works such as Accidental Death of an Anarchist or Can't Pay? Won't Pay secured his reputation as the outstanding political playwright of his age. Unlike other writers of a similar mind, Fo's chosen genre was farce, so his drama is a uniquely engaging mixture of laughter and anger. In 1954 he married Franca Rame, a member of a family-company of touring players. The personal and professional partnership of the two over sixty years was probably unique in theatre history. Her inherited, instinctive knowledge of stagecraft was invaluable to him, but although she was always recognised as an actor of considerable talent, her contribution to the writing of the plays was long undervalued. With the emergence of the feminist movement she increasingly asserted herself, notably with a series of one-woman works she wrote and performed. She became one of Italy's and Europe's leading feminist campaigners, and as such a target for right-wing terrorist groups. In 1973, she was kidnapped and raped by neo-Fascist thugs. Although the subjects of their plays, with their fearless attacks on corruption and satire of Popes and politicians, were often taken from the headlines of the day, their theatre was deeply rooted in theatrical tradition. The Nobel Prize citation stated that Fo 'emulated the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden', but this political campaigning came at a cost. The couple's militant reputation meant that they were for many years barred from Italian television and banned from entering the USA, but their plays were staged from London to Tokyo and they themselves were acclaimed wherever they toured.
Two plays written by the Italian farceur, Dario Fo, in conjunction with his wife and fellow-performer. Both plays start with the breakdown of a relationship and deal with the fate of women in a society in which both the social system in which they live and its dominant ideology are shaped by men.
Lucrezia Borgia is one of the most vilified women in modern history. The daughter of a notorious pope, she was twice betrothed before the age of eleven and thrice married—one husband was forced to declare himself impotent and thereby unfit and another was murdered by Lucrezia’s own brother, Cesar Borgia. She is cast in the role of murderess, temptress, incestuous lover, loose woman, femme fatale par excellence. But there are two sides to every story. Lucrezia Borgia is the only woman in history to have serve as the head of the Catholic Church. She successfully administered several of Renaissance Italy’s most thriving cities, founded one of the world’s first credit unions, and was a generous patron of the arts. She was mother to a prince and to a cardinal. She was a devoted wife to the Prince of Ferrara, and the lover of the poet Pietro Bembo. She was a child of the renaissance and, in many ways, the world’s first modern woman. In this richly imagined novel, Nobel laureate Dario Fo reveals Lucrezia’s humanity, her passion for life, her compassion for others, and her skill at navigating around her family’s evildoings. The Borgias are unrivalled for the range and magnitude of their political machinations and opportunism. Fo’s brilliance rests in his rendering their story as a shocking mirror image of the uses and abuses of power in our own time. Lucrezia herself becomes a model for how to survive and rise above those abuses. Part Wolf Hall, part House of Cards, The Pope's Daugther will appeal to readers of historical fiction and of contemporary fiction alike and will delight anyone fascinated by Renaissance Italy.
"The morality play of the blind man & the cripple"--"The mother" (La Madre) - "I don't move, I don't scream, my voice is gone" (Lo Stupro) - "Waking up" (Il Risveglio) - Workshops - News clippings.
The commedia dell'arte, the improvised Italian theatre that dominated the European stage from 1550 to 1750, is arguably the most famous theatre tradition to emerge from Europe in the early modern period. Its celebrated masks have come to symbolize theatre itself and have become part of the European cultural imagination. Over the past twenty years a revolution in commedia dell'arte scholarship has taken place, generated mainly by a number of distinguished Italian scholars. Their work, in which they have radically separated out the myth from the history of the phenomenon remains, however, largely untranslated into English (or any other language). The present volume gathers together these Italian and English-speaking scholars to synthesize for the first time this research for both specialist and non-specialist readers. The book is structured around key topics that span both the early modern period and the twentieth-century reinvention of the commedia dell'arte.