Biography (Cyclopedia of World Authors, Fourth Revised Edition)
An internationally acclaimed and widely produced political playwright, Dario Fo was born in the small town of San Giano on the shore of Lake Maggiore, Lombardy, in 1926. An outspoken but not doctrinaire Marxist, Fo has often created his dramatic works on the spur of the moment, to be used in specific political situations.
Fo’s father was a railway worker and ardent antifascist. Fo was reared in a rural environment where he learned to appreciate both the traditional peasant culture of his mother and the political fight against fascism. Much of Fo’s childhood was spent listening to the traditional storytellers who could still be found in the remote areas of Lombardy. By the time he was in his teens, he had internalized a vast repertoire of traditional folk narratives. Following a brief time in the army, Fo studied architecture in Milan. Strongly attracted to the theater, however, he dropped out to become first a scene designer and then a performer.
Fo started writing plays at the age of eighteen, yet it was not until 1950 that his professional career began. He had performed for friends and fellow students with success and approached the then famous actor Franco Parenti, hoping to be invited to participate in a stage show Parenti was organizing. Parenti accepted, and a collaboration began that lasted four years. The Italian state radio invited him to do his own comical one-man show, Poer nano (poor dwarf), and in 1952 Fo and his...
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Biography (Critical Survey of Drama, Second Revised Edition)
Dario Fo was born in 1926, in San Giano, Italy, a small town in Lombardy on the shores of Lake Maggiore, near the Swiss border. His father was a railway worker who enjoyed acting in an amateur theater company, and his mother came from a peasant family. As a boy, Dario was very much influenced by the fabulatori and cantastorie, traveling storytellers and ballad singers who wandered around the shores of the lake entertaining the local fishermen. As a youth, he went to Milan, where he studied painting at the Brera Academy and architecture at the Polytechnic Institute, abandoning his studies when he was close to obtaining his degree. When he suffered a nervous breakdown in the late 1940’s, he was advised to pursue what he found most enjoyable, and he thereafter turned more and more to theater. During the 1950’s, Fo tried his hand at radio, revues, and films. During the period between 1958 and 1959, he wrote, produced, directed, and performed in one-act farces and short comic pieces, inspired by theatrical traditions ranging from the commedia dell’arte to the “French Farce” of Ernest Feydeau. “These farces were a very important exercise for me in understanding how to write a theatrical text. I learned how to dismantle and re-assemble the mechanisms of comedy,” Fo has said. “I also realized how many antiquated, useless things there were in many plays which belong to the theatre of words.”
In 1954, Fo married actress...
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Biography (Magill's Survey of World Literature, Revised Edition)
Dario Fo was born in a small Italian town near Lake Maggiore, near the Swiss border. His father, a railway worker, found time to act in an amateur theater company. His mother authored a book of regional reminiscences. The eldest of three children, Dario had a brother who became a theater administrator and a sister who wrote books about the family’s wartime experiences.
The northern region where Fo lived had a strong tradition of popular antiauthoritarian narrative, maintained by traveling storytellers who told stories about fantastic adventures to local fishermen and to peasant farmers. Fo listened to these stories and picked up a substantial repertoire for his own use.
Following an abortive army stint, Fo studied architecture in Milan but dropped out to become a performer. His career began in revues, escapist entertainment of postwar Italy. He proved to be a gifted comic, mime, and stage designer. Fo had built a reputation with his monologues over Italian national radio as Poer Nano, a poor simpleton who confuses biblical and secular stories so that, for example, Cain is the victim of a priggish Abel. Fo also performed Poer Nano on stage, fleshing out his satirical gifts and championing the underdog. In 1954, he married Franca Rame, a talented Milanese actress from a popular touring theater family. Together they embarked on a successful series of productions.
Without being a Communist Party member, Fo held leftist political...
(The entire section is 791 words.)
Biography (Magill's Survey of World Literature, Revised Edition)
Dario Fo has become an internationally acclaimed political playwright whose work has won popular success and critical praise for its content, its skilled improvisatory and comedic techniques, and its satirical perspective. With his wife and collaborator, Franca Rame, Fo has been active in the Italian and European theater for more than thirty years, performing in many countries to many groups. His work came to the wide attention of English-speaking audiences only in the 1980’s. Fo’s life and work evince his belief that the theater can be an instrument of political illumination as well as entertainment.
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Dario Fo is one of Italy's most important and well-known literary figures, along with his partner and longtime collaborator, Franca Rame. He was born in San Giano, Italy, on March 24, 1926, the son of Felice (a railroad stationmaster) and Pina (Rota) Fo. Initially, Fo considered a career in architecture, but before he had quite finished this course of study, he discovered that he was far happier working in theatrical circles. By 1950, Fo had decided definitely on a career on the stage and began to compose plays prolifically. In June of 1954, Fo and Rame married; they have three children.
Running throughout Fo's career are certain constants. His plays are usually farcical with a satirical bite, and they tend to employ popular elements, such as slapstick. This said, there are also discernible stages in Fo's career. At first, he concentrated on creating comical farces and revues, some of which were broadcast on radio. Then, Fo's plays began to resemble more typical dramas, at least in the sense that they became less episodic and less strictly comical in effect. Later, Fo's greater engagement with Italian politics in his plays became evident. Indeed, by the time of Morte accidentale di un anarchico (Accidental Death of an Anarchist), Fo was so deep into Italian politics that he began gearing his plays toward working-class audiences instead of more typical theatergoers. He continued to attract people of all social strata to his plays, yet he began to...
(The entire section is 494 words.)