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Semiotics 1980 pp 131-141 | Cite as

Notes on Text and Performance in the Theatre of Dario Fo

  • Vittorio Felaco

Abstract

It is obvious that some of the work of Dario Fo is criticized for the bold, sometimes even arrogant, statement that it makes about popular culture and the right that all people have to the “other side of the story”, so to speak. This dedication to counter culture and information combines in his theatre with one of the greatest mimic talents of our century. However, this unbeatable combination, even in times of rising fortune for populism, can only give a partial account for the undisputed success of his theatre in Europe, Canada and parts of Latin America. Some of it must come from his research into medieval forms of popular entertainment staged by the so-called giullari (French: jongleurs; Spanish: juglare).

Keywords

Popular Culture Italian Theatre Dramatic Performance Diachronic Analysis Stage Personality 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    John van Zyl, “Towards a socio-semiotic of performance”, Semiotic Scene, vol. III, no. 2, pp. 99–111.Google Scholar
  2. 5.
    Dario Fo, in The Drama Review, (T77) vol. 22, no. 1, March 1978, pp. 33–48.Google Scholar
  3. 6.
    Robert Scholes, Fabulation and Metafiction, University of Illinois Press, 1979, but also The Fabulators, Oxford University Press, 1967.Google Scholar
  4. 7.
    Dario Fo, The Drama Review, (T77) p.43.Google Scholar
  5. 8.
    Jason and Segal, eds. Pattern of Oral Literature, Mouton Publishers, 1977, p.8.Google Scholar
  6. 9.
    Dacia Maraini, Fare Teatro, Bompiani, Milano, 1974, pp. 70–74.Google Scholar

Copyright information

© Plenum Press, New York 1982

Authors and Affiliations

  • Vittorio Felaco
    • 1
  1. 1.Department of French and ItalianThe University of MarylandCollege ParkUSA

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