УДК: 792.03(450):792.09+ 821.131.1-22

DOI: 10.35852/2588-0144-2023-2-104-117

EDN: ZIYOJL

Full text (PDF): Download

Yuliya V. Novokhatskaya

Postgraduate student of the Department of the World Theatre History. Scientific supervisor: Vidas Yu. Siliunas — Doctor of Arts, professor of the Department of History of the World Theatre, Russian Institute of Theatre Arts (GITIS).
Russian Institute of Theatre Arts (GITIS)
Moscow, Russia

The problem of folk religiosity in the creative work of Dario Fo

Abstract

Dario Fo’s one-actor performance “Mystery-buff” is justly considered one of the playwright's main works, his hallmark. This production is a series of stories based on the Evangel apocrypha — biblical stories that, for some reasons, were not included in the official canons. The playwright sees such reasons in the folk origin of these stories, in their poignancy and topicality. Seemingly light and simple, they are nevertheless filled with a rebellious, freedomloving spirit, that obviously goes against the official doctrine of power. As a true giullare, Dario Fo tells these stories from the stage while being one-on-one with his spectators. This form of communication with the audience was very close to him. The explanation for this phenomenon lies largely in the playwright’s childhood and the environment in which he grew up. Consequently, a significant part of this article focuses on the first years of Dario Fo’s life and his communication with the folk storytellers of Lake Maggiore, who, definitely, greatly influenced his personal and professional formation. The comedian reveals all the wealth of Italian folk culture through the prism of Italian folk religiosity. Being far from the official church, he turned out to be incredibly close to folk traditions and national cultural values. The main purpose of this article is to analyze and reveal the meaning of the “faith of the commoners” in the art of Dario Fo, as well as to demonstrate the social angle that acquired, as examplified in his key work “Mystery-buff”.

Keywords

Dario Fo, “Mystery-buff”, folk storytellers, Biblical apocrypha, Italian theatre, national spirit.

For citation

Novokhatskaya Y.V. The problem of folk religiosity in the creative work of Dario Fo. Theatre. Fine Arts. Cinema. Music. 2023, no. 2, pp. 104–117.

DOI: 10.35852/2588-0144-2023-2-104-117

EDN ZIYOJL

References

  1. Maceri D. Dario Fo: Jester of the Working Class. World Literature Today: Board of Regents of the University of Oklahoma. 1998, vol. 72, no. 1, pp. 9–14. 
  2. Skornyakova M. Samyj populyarnyj dramaturg Italii [The most popular Italian playwright]. In: Dramaturgi — laureaty Nobelevskoj premii [Playwrights — Nobel prize winners]. Moscow: Panorama, 1998, pp. 456–465.
  3. Rogozina E. Igrovaja traditsija v italianskom iskusstve XX veka: teatr i kino: dis…. kand. iskusstvovedenija [The play tradition in Italian art of the XX century: theatre and cinema: Ph.D. Thesis in Art history]. Yaroslavl, 2003. 180 p.
  4. Fo D., Fleury M. Dario Fo: “L’Arte é Contaminata”. Photography in Fashion/Writing from Central America: New Art Publications. 1985, no. 12, pp. 76–77.
  5. Bushueva S.K. Italianskij sovremennyj teatr [Italian contemporary theatre]. Leningrad: Iskusstvo, 1983. 176 p.
  6. Jenkins R. Dario Fo: The Roar of the Clown. The Drama Review. 1976, vol. 30, no. 1, pp. 171–179. 
  7. Sogliuzzo A. Richard. Dario Fo: Puppets for Proletarian Revolution. The Drama Review. 1972, vol. 16, no. 3, pp. 71–77.
  8. Fo D., Claesson P. Contra Jigulatores Obloquentes; Nobel Lecture 1997. World Literature Today: Board of Regents of the University of Oklahoma. 1998, vol. 72, no. 1, pp. 4–8. 
  9. Scruderi A. Unmasking the Holy Jester Dario Fo. Theatre Journal. 2003, vol. 55, no. 2, pp. 275–290. 
  10. Mitchell T. Dario Fo: People’s Court Jester. London: Mathuen, 2006. 532 p. 
  11. Fo D. Mistero buffo. Milano: Guanda, 2018. 400 p.
  12. Fo D., Rame F. Nuovo manuale minimo dell’attore. Milano: Chiarelettere, 2015. 233 p.
  13. Piccolo P. Dario Fo’s giullarate: Dialogic Parables in the Service of the Oppressed. Italica: American Association of Teachers of Italian. 1988, vol. 65, no. 2, pp. 131–143. 
  14. Fo D. Il paese dei Mezerat. Milano: Feltrinelli, 2002. 208 p. 
  15. Manin G., Fo D. Il mondo secondo Fo. Milano: Ugo Guanda Editore, 2016. 157 p. 
  16. Behan T. Revolutionary Theatre. London: Pluto Press, 2000. — 176 p. 
  17. Bakhtin M.M. Tvorchestvo Fransua Rable i narodnaja kultura Srednevekov’ja i Renessansa [The creative work of Francois Rabelais and the folk culture of the Middle Ages and Renaissance]. Moscow: Eksmo, 2015. 640 p.
  18. Soriani S. Mistero buffo, tra immaginario grottesco e performance giullaresca. In: Lavinio C. (a cura di). Oralita’ narrativa, cultura popolare e arte. Grazia Deledda e Dario Fo. Nuoro-Cagliari: ISRE Edizioni, 2019. 251 p. 
  19. Fanelli A. Il Folk Music Revival E Le Regole Dell’arte. Lares. 2018, vol. 84, no. 2, pp. 365–374.

Received: 22.04.2022

Revised: 17.11.2022

Accepted: 27.03.2023