Dario Fo

For more information on Dario Fo, visit Britannica.com.

Italian playwright Dario Fo (born 1926) is known for his satirical and often controversial works. He was awarded the 1997 Nobel Prize in Literature.

Although he has been hailed by critics worldwide for his acting abilities and especially for his artful, satirical works that convey his leftist ideology, Italian playwright Dario Fo was an unexpected winner of the 1997 Nobel Prize in Literature. Fo, who according to the press release from the Swedish Academy, "emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden," was by his own admission "amazed" to learn that he had won the prestigious award, according to an article by Chicago Tribune contributor Tom Hundley. The Nobel committee's choice was indeed unpopular among many segments of the world population, especially with the Italian government and with the Roman Catholic Church, which have both been favorite targets of Fo's in such works as A Madhouse for the Sane and Mistero buffo. According to an article by the New York Times's Celestine Bohlen, "the Vatican newspaper L'Osservatore Romano said it was flabbergasted by [Fo's] selection. 'Giving the prize to someone who is also the author of questionable works is beyond all imagination,' the paper said."

Fo was born on March 24, 1926, in San Giano, a small fishing village in northern Italy where his father, Felice, was a railroad stationmaster and part-time actor. His father and the local storytellers provided the young Fo with his first lessons in the art of dramatic presentation, and he emulated their animated gestures and vocalizations in his own acting performances. He attended the Academia di Belle Arti (Academy of Fine Arts) in Milan, but left without earning a degree, instead opting to write plays and perform with several improvisational theatre groups. Fo's first success as a playwright came with his 1953 work, Il dito nell'occhio (A Finger in the Eye), which was a social satire that presented Marxist concepts with a circus-like backdrop.

Early Works Prove Controversial

Fo became an outspoken opponent of the Italian government with his 1954 play, I sani de legare (A Madhouse for the Sane), which charged several government officials with being fascist sympathizers; the government ordered Fo to cut some of the original material from his script and mandated the presence of state inspectors at each performance of the play to ensure that Italian libel laws were not being broken. Between 1956 and 1958 Fo worked as a screenwriter in Rome, but he returned to the stage and began to produce, along with his wife, actress and playwright Franca Rame, a less conspicuously political variety of satirical plays. Of the works produced during this period of his career, Fo's best is considered by many to be 1959's Gli arcangeli non giocano a flipper (Archangels Don't Play Pinball), which was the first of his plays to be staged outside of Italy.

In 1968 Fo and Rame, with the support of the Italian communist party, formed Nuova Scena, a nonprofit theatre organization whose works were aimed at the working class audience; the couple's decision to form the group was prompted by their rejection of the theatrical establishment. Nuova Scena productions were marked by an intensely radical tone and dealt with political issues of the time. In one such work, 1968's Grande pantomima con bandiere e pupazzi piccoli e medi (Grand Pantomime with Flags and Small and Medium-Sized Puppets), Fo took a satirical look at Italy's political history following World War II, depicting the way in which he believed the communist party had given in to the temptation of capitalism; the Italian communist party withdrew its support of Nuova Scena following the production of Grand Pantomime, and Fo and Rame formed Il Colletive Teatrale La Comune, known as La Comune, in 1970.

Mistero buffo Produced

Fo was highly popular during the 1960s, perhaps due to the prevailing feelings of social and political upheaval that marked that decade and provided him with exposure to a much broader audience than any with which he had previously been acquainted. Mistero buffo (The Comic Mystery), considered by many to be Fo's foremost work for the stage as well as his most controversial, was first produced in 1969. Although the actual script is improvised and thus changes with each performance, the narrative always involves a depiction of events based upon the gospels of the Bible's New Testament presented in a disparaging manner that accuses the Catholic church, landowners, and the government of persecuting the masses. Fo took the idea for this play from the Middle Ages, when traveling performers known as giullari would enact medieval mystery plays in the streets; in Fo's production, a single actor Fo himself performs the series of sketches on an empty stage, introducing each segment with a short prologue and linking them together, portraying as many as a dozen characters at one time. The parables from the gospels portrayed in Mistero buffo include the resurrection of Lazarus, with pickpockets who steal from those who witness the miracle, the story of a crippled man who avoids Jesus' healing power because he makes a good living as a beggar, and a scornful depiction of the corrupt activities of Pope Boniface VIII.

Mistero buffo was broadcast on television in 1977, and, according to an Atlantic Monthly article by Charles C. Mann, the Vatican proclaimed the work to be "the most blasphemous" program ever televised; Fo was, as Mann reported, delighted with the church officials' response. Despite the church's disapproval, or perhaps because of it, Mistero buffo was a popular success throughout Europe; when it was performed in London in 1983, the revenue brought in by the play was enough to save the theatre in which it was produced from financial ruin. Fo and Rame were eventually given permission to enter the United States in 1986, after having been denied visas in both 1980 and 1984 because of reports that they had helped to raise funds to support an Italian terrorist organization; the couple denied taking part in any such activities. Mistero buffo opened in New York City in the spring of 1986, and was hailed by the New York Times's Ron Jenkins as "a brilliant one-man version of biblical legends and church history" whose humor "echo[es] the rhythms of revolt."

In response to the premature death of anarchist railway worker Giuseppi Pinelli in 1969, Fo composed the absurdist play Morte accidentale di un anarchico (Accidental Death of an Anarchist), which was the only one of his plays produced during his La Comune period to become an enduring favorite and a popular success. Pinelli's death was, Fo believed, the result of a plot by right-wing extremist members of the Italian military and secret service to undermine the credibility of the Italian Communist party by executing a string of bombings and making it appear that they were the work of leftist terrorists. Pinelli was charged with the 1969 bombing of the Agricultural Bank of Milan, one of the most devastating of the bombings that killed numerous innocent bystanders. At some point during the time in which the railway worker was held for interrogation by police in Milan, he fell later it was argued that he was pushed from a window on the fourth floor of police headquarters.

In Accidental Death of an Anarchist, Fo's play based on the events surrounding Pinelli's death, Fo uses a character known as the maniac to reveal the attempts by the police to cover up the truth. In an article in American Theatre, Fo observed: "When I injected absurdity into the situation, the lies became apparent. The maniac plays the role of the judge, taking the logic of the authorities to their absurd extremes." In this way, Fo was able to demonstrate that Pinelli was murdered, and could not have died accidentally as the police maintained. Los Angeles Times contributor John Lahr reported that around the time Accidental Death of an Anarchist was first staged Fo was assaulted and imprisoned and Rame was kidnapped and brutalized as punishment for their part in exposing the police cover-up.

Fo Popular in Europe

Accidental Death of an Anarchist was enormously popular in Italy, and attracted large audiences during the four years following its first production. In a review of the play in New Society, John Lahr proclaimed it "loud, vulgar, kinetic, scurrilous, smart, [and] sensational…. Everything theatre should be." Although the play was also popular in London, where it ran successfully for two and a half years, it failed to win over audiences in the United States in 1984, when it opened and closed within a matter of months.

Most commentators assert that Fo's plays are not as popular with American audiences as they are with European audiences because they are loosely translated into English or performed in Italian, and because they are based upon historical, political, and social events that even if they are known to Americans are not as significant to them as they are to Europeans. New York Times contributor Mel Gussow contended that "dealing with topical Italian materials in colloquial Italian language … presents problems for adapters and directors." Specifically, critics faulted as distracting the use of an onstage translator during an American performance of Mistero buffo, and characterized a production based upon the English translation of Accidental Death of an Anarchist as considerably less effective than the original Italian production. The New York Times's Frank Rich declared that the insertion of puns based on contemporary American occurrences into the script of Accidental Death by adapter Richard Nelson served to "wreck the play's farcical structure and jolt both audience and cast out of its intended grip."

During the 1980s Fo collaborated extensively with Rame, and the couple produced several plays with distinctly feminist themes. Their most successful of these plays was Tutta casa, letto e chiesa, which is comprised of eight monologues that focus on women's position in a male-dominated society. The work, which includes a varying number and combination of the eight monologues in each production, was performed in England and the United States under several different titles, including Woman Plays, Female Parts, and Orgasmo Adulto Escapes from the Zoo. According to the Washington Post's David Richards, who reviewed an American production of the play, although the play is admirably candid, because it depicts a brand of sexism practiced more commonly in Italy, the play "may have lost some of its punch crossing the Atlantic," noting that to American audiences "the women in Orgasmo seem to be fighting battles that have long been conceded on these shores." Another of Fo and Rame's woman-centered plays, 1974's No se paga! No se paga! (We Won't Pay! We Won't Pay!), concerns a group of homemakers who organize a boycott of their local supermarket to protest its outrageous prices; this play was a moderate success in the United States when it was produced Off-Broadway in 1980 and enjoyed a fairly lengthy run.

Fo has continued to produce works that provoke anger and controversy. His 1992 play, The Pope and the Witch, which has as its subject a news conference during which the Pope, as described by New York Times contributor Celestine Bohlen, "confuses a children's gathering in St. Peter's Square with an abortion rights rally," incited fury among Catholics worldwide. His 1997 play, Devil with Boobs, is, according to Bohlen, "a comedy set in the Renaissance featuring a zealous judge and a woman possessed by the devil." Fo has also continued to appear in productions of his works, and his acting style has been compared to that of the members of the comedy troupe Monty Python, but most often Fo as an actor is "compared to the comedian Lenny Bruce for his activism, scatological humor, sarcasm and barely submerged bitterness," as New York Times contributor Rick Lyman related. Nevertheless, Lyman continued, a comparison between Bruce and Fo "ignores a chameleonlike aspect to [Fo's] performances that recalls [comedian] Sid Caesar. In a style reminiscent of Mr. Caesar's double-talk routines, Mr. Fo uses a gibberish called 'grammelot,' often accompanied by a 'translator.' The language is a jumble of syllables that evokes, without actually simulating, Italian, French and American technological jargon."

Fo Awarded Nobel Prize

Because his works have invited such tremendous controversy throughout the world, and because although some of his plays have been successful outside of Italy he is by far more popular and well-known to Italians than to the rest of the world, it was a shock to many when it was announced that Fo would receive the 1997 Nobel Prize for Literature. The announcement, according to the New York Times's Bohlen, was greeted with "the guarded amazement of Italy's literary establishment and the outright dismay of the Vatican." In its press release, published on the Nobel Prize Internet Archive, the Swedish Academy declared that Fo's plays "simultaneously amuse, engage and provide perspectives…. Hisisan oeuvre of impressive artistic vitality and range." Despite the furor surrounding his selection as a Nobel laureate, Fo has maintained his characteristic irreverence; as related in an unsigned article in the Chicago Tribune covering his news conference to discuss his prize, Fo remarked on the controversy surrounding his selection: "God is a jester because he bitterly disappointed a lot of people, including the Vatican newspaper. I feel almost guilty, but it was a great joke on them." Fo's plans as a Nobel laureate have included using his status to promote the fight for civil rights in such countries as China, Algeria, Turkey, and Argentina, and donating portions of his $1 million prize to the movement to ban the use of land mines and to aid the legal defense of three men Fo has steadfastly proclaimed their innocence prosecuted for the 1971 murder of the police officer who was in charge of interrogating Giuseppe Pinelli, the railway worker whose death was the inspiration for Fo's Accidental Death of an Anarchist. At the time he announced his intentions for his prize money, Fo had already outlined a sequel to Accidental Death based upon one of the accused men's struggle to prove his innocence.

Further Reading

American Theatre, June 1986.

Atlantic Monthly, September 1985.

Chicago Tribune, October 9, 1997; October 10, 1997; October 11, 1997; November 6, 1997.

Los Angeles Times, January 16, 1983; January 21, 1983.

New Society, March 13, 1980, pp. 559-60.

New York Times, December 18, 1980; April 17, 1983; August 5, 1983; August 14, 1983; August 27, 1983; February 15, 1984; October 31, 1984; November 16, 1984; May 29, 1986; May 30, 1986; May 9, 1987; November 27, 1987; October 10, 1997.

Washington Post, August 27, 1983; November 17, 1984; January 17, 1985; June 12, 1986.

Nobel Prize Internet Archive, http://www.almaz.com (October 9, 1997).

Swedish Academy Press Release, The Permanent Secretary, Nobel Prize Internet Archive, http://www.almaz.com (October 9, 1997).

Quotes:

"Real socialism is inside man. It wasn't born with Marx. It was in the communes of Italy in the Middle Ages. You can't say it is finished."

Dario Fo
Born	March 24, 1926 (1926-03-24) (age 83) Sangiano, Italy
Occupation	Playwright
Nationality	Italian
Genres	Drama
Literary movement	Small Theatres
Notable award(s)	Nobel Prize in Literature 1997
Influences Bertholt Brecht, Antonio Gramsci

Dario Fo (born March 24, 1926) is an Italian satirist, playwright, theater director, actor, and composer. He received the Nobel Prize for Literature in 1997. His dramatic work employs comedic methods of the ancient Italian commedia dell'arte, a theatrical style popular with the proletarian classes. He currently owns and operates a theatre company with his wife, the leading actress Franca Rame.

Contents 1 Biography 1.1 Early years 1.2 Relationship with Franca Rame 1.3 1960s and success 1.4 1970s 1.5 1980s, 1990s and the Nobel Prize 2 Selected works 2.1 English translations 3 References 4 External links

Biography

Early years

Fo was born in Sangiano, in the province of Varese, near the eastern shore of Lago Maggiore. His father Felice was a station master for the Italian state railway, and the family frequently moved when Felice was transferred to new postings. Felice was also an amateur actor and a socialist. Fo learned storytelling from his maternal grandfather and Lombard fishers and glassblowers.

In 1940 Fo moved to Milan to study architecture at the Brera Academy, but World War II intervened. His family was active in anti-fascist resistance and reputedly he helped his father to smuggle refugees and Allied soldiers to Switzerland. Near the end of the war, Fo was conscripted into the army of the Republic of Salò, but he escaped and managed to hide for the remainder of the war.

After the war, Fo continued his architectural studies in Milan. Initially he commuted from Lago Maggiore, but soon his family moved to Milan. There Fo became involved in the piccoli teatri (small theatres) movement, in which he began to present improvised monologues. In 1950 he began to work for Franco Parenti's theater company, and gradually abandoned his work as an assistant architect.

Relationship with Franca Rame

In 1951 Fo met Franca Rame, daughter of a theatrical family, when they were working in the production of revue Sette giorni a Milano. After a slow start, they became engaged. In the same year he was invited to perform a radio play Cocorico in RAI, Italian national radio. He made 18 satirical monologues where he varied biblical tales to make them political satire. Scandalized authorities cancelled the show.

In 1953 he wrote and directed a satirical play Il dito nell'occhio. After initial success both government and church authorities censored his work and the theater company had trouble finding theaters in which to perform it. The public did appreciate the show.

Franca Rame and Dario Fo were married on June 24, 1954. Fo worked in the Piccolo Teatro in Milan but his satires suffered more censure although they remained popular.

In 1955 Fo and Rame worked in movie production in Rome. Fo became a screenwriter and worked for many productions, including those of Dino De Laurentiis. Their son Jacopo was born on March 31. Rame worked in Teatro Stabile of Bolzano. In 1956 Fo and Rame were together in the Carlo Lizzani's film Lo svitato. Other movies followed.

In 1959 Fo and Rame returned to Milan and founded the Compagnia Dario Fo-Franca Rame (Dario Fo-Franca Rame Theater Company). Fo wrote scripts, acted, directed, and designed costumes and stage paraphernalia. Rame took care of the administrative jobs. The company débuted in Piccolo Teatro and then left for the first of its annual tours all over Italy.

1960s and success

In 1960 they gained national recognition with Gli arcangeli non giocano a flipper ("Archangels Don't Play Pinball") in Milan's Teatro Odeon. Other successes followed. In 1961 Fo's plays began to play in Sweden and Poland.

In 1962 Fo wrote and directed a game show, Canzonissima, for RAI. Fo used the show to depict lives of commoners and it became a success. However, an episode about a journalist who was killed by Mafia annoyed politicians and Fo and Franca Rame received death threats and were placed under police protection. They left the show when RAI made more cuts to the program. The Italian Actors' Union told its members to refuse to become their replacements. Fo and Rame were effectively banned from RAI for the next 15 years. They continued their work in Teatro Odeon.

In 1962 Fo's play about Christopher Columbus, Isabella, Three Tall Ships, and a Con Man was subject to violent attacks by fascist groups in Rome. On this occasion it was the Italian Communist Party which provided security for Fo and Rame. This event is recounted by Fo in the prologue of Johan Padan and the Discovery of the Americas.

La Signora è da buttare (1967) made topical comments on the Vietnam War, Lee Harvey Oswald, and the assassination of John F. Kennedy. The US government saw it as being disrespectful to President Johnson, and Fo was denied a US visa for years afterwards under the McCarran-Walter Act.

Fo gained international fame with "Archangels Don't Play Pinball" when it was performed in Zagreb in Yugoslavia.

In 1968 Fo and Rame founded Associazione Nuova Scena theatre collective with movable stages. It toured in Italy. In Milan, it turned an abandoned factory into a theatre. It became a home of another new company, Il Capannone di Via Colletta. The collective had links to the Italian Communist Party, but Fo also openly criticized their methods and policies in his plays. Soon the communist press disliked him as much as the Catholics, and many performances were cancelled. Fo had never been a member but the conflict made Rame resign her membership of the party.

Dario Fo withdrew all rights to perform his plays in Czechoslovakia in protest after Warsaw Pact forces crushed the Prague Spring in 1968, and refused to accept cuts demanded by Soviet censors. Productions of his plays in the Eastern Bloc ended.

In 1969 Fo presented for the first time Mistero Buffo ("Comic Mystery"), a play of monologues based on a mix of medieval plays and topical issues. It was popular and had 5000 performances - some even in sports arenas. Mistero Buffo influenced a lot of young actors and authors: it can be considered the formative moment of what Italians used to call teatro di narrazione, a kind of theatre in which there are no characters playing a dramatic role, similar to popular storytelling. The most famous Italian storytellers are Marco Paolini, Laura Curino, Ascanio Celestini, Davide Enia and Andrea Cosentino.

1970s

However, in 1970 Fo and Rame left Nuova Scena due to political differences. They began their third theatre group, Collettivo Teatrale La Commune. It produced plays based on improvisation about contemporary issues with lots of revisions. Accidental Death of an Anarchist (1970) criticized abuse of forces of law and order; he wrote it after a terrorist attack on the Banca Nazionale dell'Agricoltura in Milan. Fedayin (1971) was about a volatile situation in Palestine and performers included genuine PLO members. From 1971 to 1985, the group donated part of its income to support strikes of Italian labor organizations.

In 1973 the company moved to Rossini Cinema in Milan. When Fo criticized police in one of his plays, police raids and censorship increased. On March 8, a fascist group, commissioned by high ranking officials in Milan's Carabinieri, the Italian federal police^[1], kidnapped Franca Rame, torturing and raping her. Rame returned to the stage after two months with new anti-fascist monologues.

Later in that year, the company occupied an abandoned market building in Central Milan and dubbed it the Palazzina Liberty. They opened in September with Guerra di popolo in Cile, a play about a rebellion against Chilean military government. It had been written because of the murder of Salvador Allende. Fo was arrested when he tried to prevent police from stopping the play. The 1974 play Can't Pay? Won't Pay! was a farce about the self-reduction movement where women (and men) would take what they wanted from markets, only paying what they could afford. In 1975 Fo wrote Fanfani rapito in support of a referendum for the legalization of abortion. In the same year they visited China. Fo was also nominated for the Nobel prize for the first time.

In 1976 a new RAI director invited Fo to do a new program, Il teatro di Dario (Dario's Theatre). However, when Mistero Buffo's second version was presented in the TV in 1977, the Vatican described it as "blasphemous" and Italian right-wingers complained. Regardless, Franca Rame received an IDI prize for the best TV actress.

In 1978 Fo made the third version of Mistero Buffo. He also rewrote and directed La storia di un soldato (Story of a Soldier), based on Igor Stravinsky's opera. It was a success. Later he adapted operas from Rossini. He also wrote a play about the murder of Aldo Moro, but it has not been performed publicly.

1980s, 1990s and the Nobel Prize

In 1980 Fo and family founded a retreat, the Libera Università di Alcatraz, in the hills near Gubbio and Perugia. They bought the valley bit by bit. The retreat is currently run by Jacopo Fo.

In 1981 Cambridge's American Repertory Theater invited Fo to perform in the Italian Theatre Festival in New York. The United States Department of State initially refused to grant Fo a visa but agreed to issue a six-day one in 1984 after various US writers protested against the ruling. In 1985 they received another one and performed at Harvard University, Repertory Theater, the Yale Repertory Theater, Washington's Kennedy Center, Baltimore's Theatre of Nations and New York's Joyce Theatre.

Despite the acclaim, there were still troubles. In 1983 Italian censors rated Coppia Aperta forbidden to anyone under 18. During a performance in Argentina, a saboteur threw a tear gas grenade and the further performances were disturbed by youths who threw stones on the windows. Catholics picketed the performance with large religious pictures.

In 1989 he wrote Lettera dalla Cina in protest of the Tiananmen Massacre. In the same year he was the first Italian to stage a play in the Comédie Française.

In 1981 Fo received a Sonning Prize from Copenhagen University, 1985 a Premio Eduardo Award and in 1986 the Obie Award in New York and in 1987 Agro Dolce Prize.

On July 17, 1995, Fo suffered a stroke and lost most of his sight; Rame subsequently took his place in productions for a period of time. Fo nearly recovered within a year.

On October 9, 1997 he received the Nobel Prize for Literature. He also received an honorary doctorate from the Vrije Universiteit Brussel (Belgium).

In his works Dario Fo has criticized—among others—Catholic policy on abortion, political murders, organized crime, political corruption and the Middle East crisis. His plays often depend on improvisation, commedia dell'arte style. His plays—especially Mistero Buffo—have been translated to 30 languages and when they are performed outside Italy, they are often modified to reflect local political and other issues. Fo encourages directors and translators to modify his plays as they see fit, as he finds this in accordance to the commedia dell' arte tradition of on-stage improvisation he is so fond of.

In 2006, Dario Fo made a failed attempt to run for mayor of Milan, the most economically important city of Italy, finishing second in the primary election held by the centre-left The Union. Fo, who obtained over 20% of votes, was supported by the Communist Refoundation Party.

Fo's wife Franca Rame was elected as senator for the Italy of Values party in the Italian general election held on April 9 and 10, 2006.

Fo questions the official account of the September 11 attacks and the collapse of WTC buildings in the movie Zero

Selected works

Note: These are the English names of the works.

• Archangels Don't Play Pinball (1959)
• He Had Two Pistols with White and Black Eyes (1960)
• He Who Steals a Foot is Lucky in Love (1961)
• Isabella, Three Tall Ships, and a Con Man (1963)
• Mistero Buffo (Comic Mystery, 1969)
• The Worker Knows 300 Words, the Boss 1000, That's Why He's the Boss (1969)
• Accidental Death of an Anarchist (1970)
• Fedayin (1971)
• We Won't Pay! We Won't Pay! (Non Si Paga! Non Si Paga!) (aka Can't Pay? Won't Pay!) (1974)
• Mama's Marijuana is the Best (1976)
• All House, Bed, and Church (1977)
• The Tale of a Tiger (1978)
• Trumpets and Raspberries (1981)
• The Open Couple (1983)
• Elizabeth: Almost by Chance a Woman (1984)
• One was Nude and One wore Tails (1985)
• Abducting Diana (1986) - Adapted to English in 1996 by Stephen Stenning
• The Tricks of the Trade (Manuale minimo dell'attore) [1987] (1991)^[2]
• The Zeedonk and the Shoe (1988)
• The Pope and the Witch (1989)
• A Woman Alone (1991)
• Johan Padan and the Discovery of the Americas (1992)
• The Devil with Boobs (1997)
• The First Miracle of the Infant Jesus
• Orgasmo Adulto Escapes from the Zoo
• About Face
• The Virtuous Burglar

English translations

A number of Fo's plays have been translated into the English language, including Abducting Diana and St Francis - The Holy Jester which is on a 2009 tour of southern England.

References

1. ^ Review article on biography of Rame and Fo mentions the rape
2. ^ http://books.google.it/books?id=akEJ9Ew9GaoC

• D'Angeli, Concetta and Simone Soriani (eds). Coppia d'arte - Dario Fo e Franca Rame, Pisa, Edizioni Plus, 2006.
• Behan, Tom. Dario Fo. Revolutionary Theater, London, Pluto Press, 2000.
• Farrell, Joseph. Dario Fo & Franca Rame. Harlequins of the revolution, Methuen 2001.
• Farrell, Joseph and Antonio Scuderi (eds). Dario Fo: Stage, Text and Tradition, Southern Illinois University Press, 2000.
• Mitchell, Tony. Dario Fo. People's court jester, London, Methuen, 1999.
• Pizza, Marisa. Al lavoro con Dario Fo e Franca Rame, Roma, Bulzoni, 2006.
• Pizza, Marisa. La parola, il gesto, l'azione, Roma, Bulzoni, 1996.
• Puppa, Paolo. Il teatro di Dario Fo, Vnezia, Marsilio, 1978.
• Scuderi, Antonio. Dario Fo and Popular Performance, Legas 1998.
• Soriani, Simone. Dario Fo. Dalla commedia al monologo (1959-1969), Corazzano (PI), Titivillus, 2007.
• Valentini, Chiara. La storia di Dario Fo, Milano, Feltrinelli, 1997.

External links

Wikimedia Commons has media related to: Dario Fo

• Official website of Dario Fo's candidacy as Mayor of Milan (Italian)
• Official website of the documentary about Dario Fo's candidacy as Mayor of Milan
• Nobel laureate page
• Biography
• Peace Mom by Dario Fo (performed in London, in December 2005)
• Restart by Komedy Kollective
• Mario Pirovano website, performing Fo's work
• Trinity Theatre, Tunbridge Wells, presenting premiere of Francis the Holy Jester

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Persondata
NAME	Fo, Dario
ALTERNATIVE NAMES
SHORT DESCRIPTION	Italian satirist, playwright
DATE OF BIRTH	March 24, 1926
PLACE OF BIRTH	Sangiano, Italy
DATE OF DEATH
PLACE OF DEATH

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