This essay investigates Dario Fo’s creative work through the analysis of the Tumulto di Bologna (Tumult of Bologna), a short text by Fo that was conceived in the early eighties and mainly presented to the public within Fabulazzo osceno (Obscene Fables). This is a remarkable example of how the playwright uses the technique of “mobile texts” and always rewrites and modifies the text on the basis of his audience response. This play is also a case of his typical controversial use of historical sources. Even if he is telling a story that is widely historically documented, Fo often diverges from the sources. Nevertheless, he is faithful to the medieval spirit, which differed from the modern idea of historiography, as it considered history at the service of oratory in pursuing apologetic and moralistic-utilitarian purposes. Once again, this play presents Fo’s Middle Ages as an opportunity to reconsider popular culture texts in the anti-authoritarian and revolutionary approach Fo adopts as an actor who, on the other hand, cannot but stick to the rules of dramaturgical composition.

Il saggio indaga l’officina creativa di Dario Fo attraverso l’analisi del Tumulto di Bologna, un breve testo del Dario Fo narratore, ideato nei primi anni Ottanta e perlopiù presentato al pubblico all’interno del Fabulazzo osceno. Si tratta di un caso esemplare del modo di lavorare per “testi mobili” del Fo drammaturgo, che riscrive e modifica il testo attraverso il costante confronto col pubblico con al centro il suo discusso rapporto con le fonti storiche. Nel raccontare una vicenda storica ampiamente documentata, Fo si stacca dalle fonti ma ripropone lo spirito medievale, che, prima dell’idea moderna di storiografia, concepiva la storia al servizio dell’oratoria, con finalità apologetiche e moralistico-utilitarie. Si mette così in chiaro una volta di più come il Medioevo di Fo sia un recupero antiautoritario e rivoluzionario di testi di cultura popolare, filtrato dal mestiere di un attore che non può che mettere al centro le regole della composizione drammaturgica

Peja, L., Dario Fo, le storie e la Storia. Fonti e drammaturgia del "Tumulto di Bologna", <<BIBLIOTECA TEATRALE>>, 2019; (131-132): 123-151 [http://hdl.handle.net/10807/143638]

Dario Fo, le storie e la Storia. Fonti e drammaturgia del "Tumulto di Bologna"

Peja, Laura
2019

Abstract

This essay investigates Dario Fo’s creative work through the analysis of the Tumulto di Bologna (Tumult of Bologna), a short text by Fo that was conceived in the early eighties and mainly presented to the public within Fabulazzo osceno (Obscene Fables). This is a remarkable example of how the playwright uses the technique of “mobile texts” and always rewrites and modifies the text on the basis of his audience response. This play is also a case of his typical controversial use of historical sources. Even if he is telling a story that is widely historically documented, Fo often diverges from the sources. Nevertheless, he is faithful to the medieval spirit, which differed from the modern idea of historiography, as it considered history at the service of oratory in pursuing apologetic and moralistic-utilitarian purposes. Once again, this play presents Fo’s Middle Ages as an opportunity to reconsider popular culture texts in the anti-authoritarian and revolutionary approach Fo adopts as an actor who, on the other hand, cannot but stick to the rules of dramaturgical composition.
2019
Italiano
Peja, L., Dario Fo, le storie e la Storia. Fonti e drammaturgia del "Tumulto di Bologna", <<BIBLIOTECA TEATRALE>>, 2019; (131-132): 123-151 [http://hdl.handle.net/10807/143638]
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