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DARIO FO: ZRODENIE KLAUNA

100%
Denci M.
Slovenské divadlo (Slovak Theatre)
|
2019
|
vol. 67
|
issue 1
58 – 72
EN
The study maps the work of an Italian performer and Nobel Prize winner for literature Dario Fo. Its base is a brief recap of the most significant episodes of Fo’s early career. The biographical part includes the comic’s first interactions with professional theatre, his experience with film, television and the emergence of his first theatre associations. There are also some basic ideas outlined, which inspired the form and content of Fo’s theatre. Dario Fo’s dramatic work is analysed through two titles that represent the main lines of his productions. The first line consists of a clown comedy (genre called giullarata) in which Mistero Buffo is the most important. The predominantly monologic forms, inspired by folk theatre, are mainly characterized by the grammelot language and the emphasis is placed on the performance and voice skills of the performer. In the second line, the attention of the author of the study focuses on grotesque comedies, represented by the farce Morte accidentale di un anarchico. The play inspired by an actual event has responded to the current social context and stimulated social debate. At the same time, the genesis analysis of both works reveals Dario Fo’s creative processes.
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WHY IS DARIO FO A NOBEL PRIZE WINNER? (Preco je Dario Fo nositelom Nobelovej ceny?)

75%
Sabolova-Princic D.
Slovenské divadlo (Slovak Theatre)
|
2009
|
vol. 57
|
issue 4
337-342
EN
Dramatic and theatrical works of Dario Fo are a part of the wider research of the grant task on Migration of Italian and German Culture in the Central European Cultural Area. Some singularities emerged during the reception of Dario Fo, Italian playwright, actor and director: the continuity of dramatic and theatre-publishing links remained to the rest of the Europe until 1990, especially thanks to translations and organizational work of Blahoslav Hecko, the founder of the agency DILIZA. Moreover, the paper focuses on the reconstruction of the staging concepts of Fo's plays staged in Slovakia: Archangels Don't Play Pinball (Otto Haas, 1963), He Who Steals a Foot Is Lucky in Love (K. Spisak, 1976), and also various versions of Comic Mystery (DSNP Martin 1995, Kosice 2003), with a brief comparison of his reception in the Czech context, especially directed by Peter Scherhaufer.
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