Common Tradition, 15/1 (2000): 26-38

Dario Fo and Oral Tradition:

Building a Thematic Context1

Antonio Scuderi

A historical analysis, especially a critical 1, of an actor's techniques is definitely impossible in the event the actor would not have " poetics. ” It is through " poetics”—in the themes by which it is developed—that the " techniques” acquire depth and that means and become a " design. ” Totò2 has a poetics that is rich in themes and motifs that weave and dovetail, offering a whole and complex eyesight that is constantly identifiable to be " Totò's. ” (Fo 1991a: 9)3

Dario Fo, recipient of the 1997 Nobel Prize to get Literature, reveals himself being a champion of popular traditions. He does this in part simply by adapting methods of efficiency used in dental traditions in addition to various forms of teatro minore4 as his medium, through emphasizing common and oral-derived performance over the literary textual content. Fo was born on Mar 24, 1926, in the area of San Giano in the Lombardy place of northern Italy. Following moving many times, his relatives settled inside the town of Porto Valtraglia near Pond 1

Modified with agreement from Dario Fo and Popular Efficiency (Scuderi

1998).

2

TotГІ (Antonio Para Curtis, 1898-1967) began his career around the Neapolitan vaudeville stage and starred in many Italian films, including Pasolini's Hawks and Sparrows. He could be one of Fo's greatest impact on and the subject of one of his literature (1991a).

3

All goedkoop are by author with permission coming from Compagnia Enfatico Fo Aviron (C. T. F. Ur. ).

4

Fo uses the term escenario minore to refer to all types of performance that are considered second-rate or marginal, deriving coming from or mostly informed simply by popular traditions. Included in this category are well-known farces, variety theater, clown shows, and comedy films of the quiet screen. See further Scuderi 2000.

DARIO FO AND ORAL CUSTOM

27

Principale. The mouth tradition was very much an integral part of the local tradition during his childhood, and he remembers various forms of popular entertainment, such as puppet shows and professional storytellers. But his greatest affect would come from the local storytellers he calls fabulatori. a few These very fishermen, glassblowers, or itinerant vendors who also told reports while that they worked or as a hobby. His grand daddy was him self adept at sharing with tales and known locally for his pungent wit, for which having been nicknamed Bristin, meaning " pepper seeds. ” Bristin would use his spoken art as a means of drawing clients to his cart as he sold his products, and might often take young Dario along with him. The fabulatori were Fo's first and greatest influence, wonderful earliest performances, back in 1940, were testimonies and sketches improvised throughout the tales he had heard from these people. Over time Fo developed his giullarata, 6 a one-man display performed in dialects, which in Italy had been historically the predominantly voiced language of the people. It is a type of efficiency that, because of basis inside the principles of oral artwork, is strongly related to additional oral practices around the world. Ruth Finnegan's information of African narrative practices, for example , may be used to describe Fo's giullarata too (1970: 501-2): Stories are often enacted or in other words that, into a greater or perhaps smaller level, the conversation and actions of their character types are imitated by the narrator, and the actions is largely showed through discussion in which the storyteller directly portrays various heroes in turn. It is true that such achievement of character is not really sustained or perhaps complete, that straight liaison, as well as remarkable dialogue, is utilized to speak the events from the story, and that only one true " actor” could be considered to be involved....

Fo has come to be associated with the topics of an interpretive code this individual has developed, and, as the epic artist whose individuality is everpresent in a efficiency, he embodies them too. They specify his poetics. In his research of common performance and oral-derived text messages, John...

Info: recording upon audio cassettes of a overall performance in Pordenone on January 12, 1991 (Fo

1991b); and JP-V (video), it on video cassette of any performance in Milan on

April 24, 1992 (Fo 1992e).

white colored skin with two circular breasts. This wounderful woman has a gentle walking, like a young girl

once she walks” (1977b: 72)

elaborate information of feminine beauty, which include firm breasts " that

would get together like bells when she ran” (1977a)