Summary (Magill's Survey of World Literature, Revised Edition)
Archangels Don’t Play Pinball was the first of a series of six plays that Fo produced with his wife at Milan’s Teatro Odeon, the equivalent of a Broadway or West End theater. A three-act farce with music, based on a short story by Italian writer Augusto Frassinetti, it is one of Fo’s most accomplished farces and his first play to be performed outside Italy. It has been performed many times since and has brought its playwright international recognition.
Structurally, Archangels Don’t Play Pinball is a fast-moving farce, with bedroom mix-ups and officious officialdom, similar to those crafted by such French farceurs as Georges Feydeau and Eugene Labiche. The intervention of the archangels at the play’s end parallels the deus ex machina of classic Greek theater as well as Brecht’s use of gods in Der gute Mensch von Sezuan (wr. 1938-1940, pr. 1943, pb. 1953; The Good Woman of Setzuan, 1948). It is Fo’s first play to combine political-satirical content with a Brechtian form, abandoning the revue-sketch and short farce format for a consistent plotline and character development. In the traveling company tradition of doubling roles, ten of the play’s twelve characters play several parts. The device becomes a source of farcical complication as the protagonist recognizes the players in their new identities.
The play is set in Milan’s industrial outskirts and introduces a gang of loutish youths given...
(The entire section is 443 words.)
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Bibliography (Magill's Survey of World Literature, Revised Edition)
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Cowan, Suzanne, comp. “Dario Fo: Bibliography, Biography, Playography.” London: Theatre Quarterly, 1978.
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Farrell, Joseph, and Antonio Scuderi, eds. Dario Fo: Stage, Text, and Tradition. Carbondale: Southern Illinois University Press, 2000.
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