Tools for transformation : Dario Fo's processes towards the creation of a social and political theatre

Abstract

The majority of twentieth-century practitioners were confronted with important re-visitations and reforms of accepted norms and approaches to theatre-making. These developments led many artists, mostly performers, to the study of the past and of other cultures, in order to develop new techniques for innovative behaviours in performance. In trying to discover more about past and erstwhile cultures, these practitioners were also seeking to learn about new forms of theatrical language and a new identity for the theatre. This dissertation will investigate Dario Fo's quest for the discovery of distantly historic and geographic heritages in order to produce a unique theatrical style which would enable him to move closer to the working class. In my analysis of Dario Fo's passion for the return, I acknowledge Nicola Savarese's treatment of 'Nostalgia'. The word 'Nostalgia' comes from Greek, with 'nostos' meaning return and 'algos' meaning pain. Although initially this word was only used for medical purposes, eventually with the start of the study of the performers of other cultures and earlier periods, artists started using this term to explain the birth of the myths of commedia dell 'arte, the Greek Theatre and Asian Theatre. Through this discovery, one of the first historical results of 'Nostalgia' was discovered; for most twentieth-century actors, the point of departure for the construction of performance is their own body and their physical presence on stage. 'Nostalgia for integrity led the "individual" actor to become known etymologically as the "indivisible" actor' (Barba, Savarese 2006: 185). This made it easier for actors to explain the surprising similarities between the position and gestures of actors who are distant in time and space. 'It was natural that these extremely diverse origins, far distance in time and space (whence their mythical and legendary character) inspired nostalgia in the artists' imaginations. In a time of change, they saw these distance sources as 'golden ages' of the theatre.