In 1221, Frederick II Hohenstaufen, "stupor of the world", the "anointed of God", but above all, king of Sicily, promulgated a law against the jugulatores obloquentes, these "jesters who defame and insult". The bill provided, according to Dario Fo in his acceptance speech for the Nobel Prize for Literature in 1997, that citizens could be insulting to buffoons, difamarlos, and, in case of extreme need, kill them.
When it was announced that Fo had won the award Swedish, some Italian journalist (at the time annoyed by the repeated attacks of his theatre against the roman curia), he wrote: "prizes have been awarded to a jester". The thing, in its original language, has subtleties that Fo knew how to take advantage for the jester to their way is a minstrel. The comedian was able to accept it as a compliment an attack, and, in the speech of yore, was proud of to embody the two faces of the trade of the jugulator obloquente who, in 1212, the emperor of the world had recommended murder.
In the end, the jester Dario Fo, has died, and, in Italy, lived his death with the intensity that characterizes those who do not need excuses to laugh, to drink, or cry. The press regrets his departure because he knew how to give the comedy the political weight that it had in the tradition of renaissance and medieval. Just three years ago, the Five Stars movement, civil association, which is characterized by skepticism, by promoting direct democracy and the exit of Italy from Europe, gathered at the Plaza of the Cathedral of Milan. That was full of anarchists, socialists, and advocates of animal rights. There was, however, a conservative and a capitalist who had been not so much by attachment to Five Stars, but only to see Dario Fo who (minstrel of 87 years, but minstrel in the end, had become a sort of rock star.
As is known, the race of Fo began in the tradition of the commedia dell’arte, a popular theater and irreverent that takes hold of the mimic, and the traditions of carnival. And, although it is true that the Comedy of Art arise buffoons that come and go, so, too, is that writers like Shakespeare and Cervantes found in it inspiration for some of his greatest characters: Falstaff, for example, and, the greatest of all, the jester and minstrel of Alonso Quijano: Sancho Panza.
With the same intelligence of the great of the SEVENTEENTH century, Dario Fo found in the Comedy of Art characters full of sayings, morals lax, and, most important of all, a political position that extols the freedom. The difference is that Fo is not inspired in the popular theatre to create a literary character but to create itself. It was an existential need. Had arrived young very far and ran the risk that the fame re-bourgeois. Who can imagine a Rigoletto bourgeois? The thing does not work, so that Fo had to be carried to the extreme of being systematic and joyfully faced with all kinds of power. Were the sixties. To become bourgeois was a serious thing, especially for a comedian like him, who had entered the television with a certain innocence, but as soon as he learned of the power of the electronic media, the left. He returned to the theatre and never leave.
Imagine the Italy of the sixties. Pope paul VI still throws blessings two meters above the ground in a chair gestatoria that load blond and young noble romans. Covered by a canopy of silk. In this Italy, the jester mocked the pope and the mafia that controlled it since then Mediterranean Europe. He mocked capitalism, understood as a "everything has a price and everything can be bought". His masterpiece of these years that Italy became as to what it is today: in Mistero Buffo the jugulator obloquente, dressed in a sweater turtle neck (which here in Italy is called dolce vita), used as a sole remedy a light (a follower), and a microphone. Nothing more. Had in three hours the history of the world according to Dario Fo. Questioning the miracles of Jesus. Laughing with the saints of the folk tradition and, of course, scoffed at the policy of the pope in alliance with the mafias sicilian and neapolitan which sought to avoid actively the rise of socialism. Without these three actors of the teatrum mundi, the pope, the mafia and capital, the history of Italy had changed. You can that everything would have been much worse, but Fo you have to give the credit of having been a poet in the sense of Rimbaud: Mistero buffo is the drama of a seer.
a Lover of the theater of Lorca and Maiakovski, Fo was influenced by the cynicism of Saramago and the love to the love that Fellini exalted. "She has gone to The Supreme Playwright," says Giuseppina Manin in his chronicle on the death of Fo in the edition of the October 13, 2016 in the Corriere della Sera. Has died the director, the impresario, the painter, the boicoteador of power. Has died the same as the one you wrote over a hundred plays and two novels. Has died the artist who graciously acknowledged jester the evening that he received the Nobel prize. And as a good jester, he received his prize from the hands of a king. The important thing, however, is that he did so on behalf of all mimes, clowns, volantineros and storytellers in the world. Received on behalf of the master glassmakers of his neighborhood in Sangiano, province of Varese, where he grew up and where she learned to speak as the worker, the peasant, or the more simple military. "Behind every sarcasm", he said, "there is a tragic allusion". This is the spirit of her mockery, of the political comedy he did Fo the last minstrel.
there is No doubt that things have changed since the time at which, under the weight of a tiara, almost nine kilos, pope paul VI launched anathemas against the mimo and its Mistero buffo. On the contrary, this 13 October, The Vatican has offered him, also, a tribute; it has done so by removing the file, an interview with Vatican Radio made him the playwright in 2014, the year in which Fo is attributed to a group who defined themselves as "atheists who seek God." In this interview, the Nobel Prize is declared admirer of San Francisco, is described as a believer of something, "a beyond." All and all, another Italian newspaper recalls that just three years ago, in 2013, the Holy see denied a theatrical space in which the mimo wanted to take a well-deserved tribute to your companion to theatre and to her lover of all life: Franca Rame. "The pope Francis to us has been censored," he said then. "Maybe in the end we want to because you do not want them to do publicity."
thanks In large part to the controversy that throughout your life you have had the Nobel Prize with the pontificate, Dario Fo remained in effect. Full of life. As it says in this program-a tribute that you have made on Vatican Radio on October 13. Was the controversy which he had with eyes wide open because "do you Know?", says the minstrel, "I am an atheist, but I keep looking for somewhere. Sometimes I listen to my wife, I think that I look at it. In God I don’t think, but I keep looking with open eyes".
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