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Genesis and Cevelqpment Cf the Peasant Christ in Dario Fo's Misteeo

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Genesis and Cevelqpment Cf the Peasant Christ in Dario Fo's Misteeo GENESIS AND CEVELQPMENT CF THE PEASANT CHRIST IN DARIO FO'S MISTEEO Jo3o cSsar H areita A Dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg for the Degree of Masters of A rts. Johannesburg 1989 I hereby declare: th a t th is d isse rta tio n e n title d 'Genesis and Development of the Peasant Christ in Dario Fo's Mistero Buffo1 is ray own work except to the extent indicated in the Acknowledgement, Botes and References and by comments included in the bcriy o f the dissertation; that this dissertation has not been submitted to any other university for degree purposes? that no information used in this dissertation has been obtained by me while employed by, or working under the aegis of, any person or organisation other than the University of the Witwatersrand. Jo&J Cisar toreira. ACKKCWIfDGBCKTS I wish to express ray gratitude to ray supervisor, Mrs. A. Poeti, for her constant guidance and perseverance, to my wife, for her loving support, to my parents, for their enthusiastic encouragement, to Mrs. J. Watson, for proof-reading for me and to Dr. J. Carter for translating the Portuguese quotations included. Lest but not least, I wish to thank Prof. Steadman for reading some manuscript pages and for giving valuable advice. This study examines the theatrical career of the Italian playwright- cum-actot, Dario to, who from r mid-Pifties tecame a controversial figure in Italy tecause he proposed a militant theatre of counterinformation. It addresses itself mainly to the micro-texts which make up Mlstero Buffo as this play was written at the peak of Dario Fo's career and it epitomises the playwright's talent as an author, actor and philologist. This play is also Fo's most original oeuvre because of the message i t conveys through a new g iu lla r e , not unlike h is 1401 and IS^1 century prototypes, who expresses himself in a oraramslot, of to 's own invention, based on the medieval speech patterns of the peasants o f Im bardy. This play defines the ro le o f t o 's plebeian spokesman or 'peasant C h rist' and the reasons for h is anger against the hegemonic c la sse s. In the opening chapter Dario to's involvement with the theatre is b rie fly surveyed and the main p o litic a l te n ets o f h is works are e stab lish ed , as we see how he progressed away from h is bourgeois environment and turned towards Marxist and then Maoist ideologies. The second chapter reviews the tra d itio n s on which to bases the th e a tr ic a l framework o f h is oeuvre and shows the strong influence th a t the 'ep ic th e a tre 1 o f B ertolt Brecht has had on F o's formation and development as a w riter. I t also deals w ith the importance o f Antonio Gramsci and the ro le his views may have had in shaping F o's didactic aims. Fo wanted to transform the tepid spectator into a burning revolutionary, willing to dismantle the abuses of both the State and the Church. Lastly this chapter deals with the influence Franca Bane has had on h is la te s t plays which move away from so c io -p o litic a l issues to take up the feminist cause. Chapter 3 deals with the sources of Dario Fo's type of art and traces them back to the Gospels, the early 'mystery' plays and the first profane plays to be produced by the popular theatre of the 15^ century, the Gamedia d e ll’Arte. Mayakovsky and Brecht. In the fourth chapter Mistero Buffo is analysed and the importance of the role of the 'narrator' is established, ttie elemental world-view expressed by the sub-texts, which make up th is play, serves to juxtapose and compare the crisis of the poor with the arrogant prosperity of the ruling classes. The very language with which the peasant characters express themselves becomes a weapon o f humble re p risa l. Hie concluding chapter sums up how Fo has changed ideology and his point of view over the years and suggests that his theatre has depleated its message in the Eighties. It explains, furthermore, why this author was chosen as a subjeqt for this dissertation: Dario Fo's plays are regularly produced in South Africa and the situations they portray, though culturally distant from local reality, are nevertheless eminently relevant in this country. A b r ie f Appendix considers the to plays th a t have been staged in South A frica and reviews the n est im portant a rtic le s th a t assessed them and how they were perceived by local audiences. Chapter 1: Introduction: the man and his work ............................... 1 Chapter 2: Theoretical basis of and influences on Dario Eto'a theatre .... ...................................................... 43 Chapter 3t She Concept o f the giu lla re .......................................... 80 Chapter 4s Mlat-ern Buffo .................................................................... 110 Chapter 5s conclusion ............................................................................. 157 Appendix: 169 to te ss to Chapter 1 191 to Chapter 2 194 to Chapter 3 ........................................................................ 199 to Chapter 4 ........................................................................ 205 to the Appendix .................................................................. 207 Bibliography '81 was the year th a t introduced South /• •’cican audiences to Dari'S Fo's 1 theatre of presence' (1). On 4th May, the premiere of A ccidental Death of an Anarchist was staged a t the ’Market Theatre1 in Johannesburg, directed by Malcolm Purkey, the driving force behind 'The Junction Theatre workshop Company'. This play, hailed by theatre c r it ic s in London and New York as a b r illi a n t fusion of sharp sa tire and knockabout farce, did not enjoy the same reception in South Africa. A local critic, Garalt MacLiam, for example, said that if it ware 'seen merely as a farce, lit provided) a pleasant evening's entertainm ent' (The S ta r, 24 May 1981). Efe f e l t the p la y 's message hafl been 'swallowed' by farce and ‘watered down’ in coneaxison to the Ita lia n o rig in a l. In many ways, ta is production was re stric te d by the choice of venue, by the nature of the direction and to ssee extent the dialogue. The cast needed to develop an intimate rapport with the audience, a task which was difficult within the confines of the far too spacious Market ThefrTp. The p lo t, which should force the audience to draw a p a r a lle lis c w e n Giovanni P i n e ll i's suicide (2) and that of Scuth African political prisoners who suffered the sane fate, under similar conditions (1 ), was extremely rele v an t to the South African context; yet it failed to stir and fuel the emotions of the majority of theatregoers. With the staging a t Mo more fto plays. We c a n 't pavi We won't payl and Female P a rts: the One Maian Plays, the reactions to th is type of provocative theatre by the South African public, have been even more negative. C r itic s coined the term 'k itchen-sink comedy' (4) tor Po's brand o f huirour and to th is day i t remains firm ly associated with Fo’s th e a tre . R. Daniel o f the now defunct Rand P a il/ M ail, blamed the poor reception o f We C an't Pavi Ms WMi't Pavi on the fa c t th a t Dario t o ’s p lays lose their effectiveness when enacted outside Italy. He states that their success elsewhere is due to their exotic quality rather than the m ilita n t values they erobcdy (Rand Daily M ail. 26 March 1982). What this critic fails to understand, however, i s that Fo'a plays are meant to transcend cultural barriers and local values; he f a il s to recognise the universal nature of the themes anti situ atio n s jo rtray ed (5). When they were staged in Lonjcn's West End, for example, they were presented not as Italian plays for an Italian audience, but a s plays suited to an Anglo-Saxon audience. Ttiey were adapted to convey the intrinsic values of that particular culture. It has been suggested that the plays in South A frica might have been played nore effectively if the cast had been black, since the daily travail of the working men in Italy is more akin to that of the local black population. MacLiam, on the subject of Vfe Can't Pavi Wa pBn't Pavi, had the following to add: In author Dario Pd' s Italy, tenders run high over the constantly rising food costs and corruption exists in all levels of society. So it is credible that a group of people in a supermarket there, might stage a reb e llio n and refuse to pay for goods. Such a situation is all but unthinkable in South Africa and consequently the premise of this work loses roch of '! (the S ta r. 26 March 1982) The aim o f Fo’s th e atre is to inform the general pu b lic, and irore especially tire proletariat, of that 'side of the picture' which is not disseminated through the mass nedia.
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