A HARLEQUIN ANALYSISOF DARIO FO’S TWO WORKS

1CHIN-LI LIU, 2HSUEH-YEN WANG

1,2 National Taiwan University of Arts, New Taipei City, Taiwan Email: [email protected], [email protected]

Abstract: Dario Fo was the winner of the 1997 Nobel Prize for Literature. He is also known as the theatrical cartoonist and radical social instigator. He exceled at imitating the medieval clowns and criticized the Italian government authorities in a playful and satirical way to uphold justice for the oppressed people. This article is based on a qualitative analysis of the clowns in The Starving Zanni, Elizsabetta, and Accidental Death of an Anarchist, to explore how Dario Fo presented his clowns and how he used clowns to critique current affairs and sarcastic powers.

Index Terms: Dario Fo, Harlequin

I. INTRODUCTION acrobats. Clowns in circuses, rural people, farmers, rude and clumsy (or ignorant) people, joking people, Dario Fo was the winner of the 1997 Nobel Prize for witty people, etc. can all be regarded as harlequins. Literature, also known as a satire theater cartoonist Otto believed that the employment of clowns at the and a radical social instigator. Vatican called him court is usually due to their talents being discovered “the clown.” He exceled at imitating the medieval by the king or recommended by the nobles. The clowns, criticizing government authorities in a comic clowns chosen are closely related to their masters. and satirical way, and offering justice to the They are not only joy makers but also henchmen and oppressed. critics in front of their masters. Otto further In this thesis, the clowns in Dario Fo’s plays are explained:The clown serving at the court is usually taken as examples to explore how he presented trusted by the master. They are allowed permission to clowns and how he used clowns to criticize current speak freely. They can even challenge, question, and affairs and the masters of power. In order to ironicize sensitive issues or policies. They are not distinguish the functions of the “clown” in these three revolutionists and do not attempt to overthrow the dramas, we examine whether the “clown” in Dario king’s regime. They are kin’s allies, but at the same Fo’s scriptures is what he has advocated: it is time, they are also standing on the same side of the necessary to return to the original satire, humor, people. The clowns are like good friends. Whether mockery and wit of the clown and restore the you like to hear what you should know, they must say characteristics of the true face of life. it in front of you while people only criticize behind This thesis is divided into five sections. Firstly, Dario you. Fo’s definition on clowns is provided. Secondly, we Fo believed that the action of a clown is made up of a address the source of the role of clown in his plays. pile of different elements usually some elements that The third section uses “The Starving Zanni” as a case conflict with each other.[1] The clown’s profession to illustrate the status of clowns and its symbolic has many similarities with Medieval minstrel poets or significance. In the fourth section, we introduce and Greek-Roman mime actors. They performed through comment on the “transsexual female clowns that run sounds, acrobatics, gestures, music, songs, tricks, through “Elizsabetta.” magic, fire swallowing, and animals. He further criticized contemporary actors for playing clowns: II. DARIO FO’S DEFINITIONOF CLOWNS “At most, they stick a red ball on the nose, put on oversized shoes, and shout or scream, making people Comedy or farce is a lubricant for the boring life, but feel tired and losing appetite. Nowadays, clowns have they are also a potent drug for nervous life. In ancient lost the ability to arouse people’s shock and shifted or modern Chinese and foreign theaters, there are away from politics and morality as in ancient times. always clowns. Clowns have been included in In ancient times, clowns resorted to satire as a means Western literature or drama under the names of Fool, to combat violence, cruelty, hypocrisy, and Jester, Buffoon, Zanni, Arlecchino, Harlequin, etc. injustice.[2] Due to different historical traditions, geographical Fo mentioned that when he started his theater career, environments and cultural backgrounds, the names clowns had been derogated from all sorts of terms as and statuses of clowns also differ. In his book “Fools insignificant. In the face of such a situation, he Are Everywhere”, Beatrice Otto pointed out that pointed out: “I want to change this situation so that clowns provide entertainment in the form of physical everyone does not hate clowns again. For me, I don’t acts and sounds around the world. want to play Hamlet in the theater. I would rather They can play musical instruments or perform play the clown and play it seriously.” Dario Fo impromptu poetry. They often appear as court admired the beauty of comedy, preferred to be performers, comedians, bards, storytellers, poets, and relaxed, and stayed lively and free; at the same time,

Proceedings of 46th Research World International Conference, Prague, Czech Republic, 21st -22nd June 2018 1 A Harlequin Analysisof Dario Fo’s Two Works he also showed that he tried to make people discover making every effort to vilify the enemy and mocking the reality of society through laughters. This is them as cowards, useless guys, and pimps. They also obviously not a trick for naivety, pretending, and took off their trousers, farted and acted like sitting on amusing. He believed that clowns should have a the toilet in front of the enemy, and wiped their asses strong and deep sense of social responsibility and with the banner of the enemy. Finally, some of the human conscience and use satire as a means to enemies were stigmatized and rushed forward to combat violence, cruelty, hypocrisy and injustice. chase the giullari despite their military orders. In the Dario Fo provided the definition of “clowns” in his end, of course, the enemy suffered a big defeat. He view and noted their difference from “clowns” from took materials from the medieval poet’s works, other perspec. collated, processed, and recreated the medieval legends, exposing the ugly nature of rulers or III. THE ORIGINOF “GIULLARE” religious leaders through ancient stories, criticizing current politics and taunting the hypocrisy in the Farrell pointed out that Fo was a writer, performer, society and moral abandonment. For Dario Fo, the actor, songwriter, designer, and clown. Guillari giullare is the embodiment of the bard. provided his diverse and numerous focal points and The first drama “Hunger Zanni” will be presented templates for theater activities. Fo blended politics with further explanation later in this paper. with art, arguably making him a Brecht-type clown. He borrowed proper nouns from Brecht and often IV. ZANNI-SHOUTINGOUTTHE PAINOFTHE called his theater “epic”, but his roots in drama can be OPPRESSED traced back to medieval “Guilleri (town jesters)” and comedy (commedia dell’arte). [3]Fo usually acted out Dario Fo studied “commedia dell’arte”, especially the role as chant-song artist, chanting, singing, and aimed at the well-known stereotyped characters Zanni evaluating the characters’ behavior. His performances and Arlecchino. These two characters are the combined clowning, miming, storytelling, multiple stereotypical “servants” in the Italian commedia role-playing, improvising, and critiquing current dell’arte. They are sensible and intelligent. They are affairs to create modern epic styles on the basis of often mischievous, cowardly, envious, mean, tradition. revengeful, and betrayal of their masters. In the early “ Giullare” refers to the performing artist in development of commedia dell’arte, this character medieval Italy. Joe Farrell pointed out, in the represents the role of servants. With the evolution of introduction to the translator in Dario Fo’s “The the times, commedia dell’artewere brought to other Tricks of the Trade”, that the word “Giullare” is not European countries. Zanni and Alechino have easy to define. It is etymologically related to “the become synonymous with clowns. To Dario Fo, person who changed the trick” (Juggler). Some Zanni and Alechino symbolize the suffering of the scholars have translated English “Giullare” into people being deprived of and economically represent “minstrel” (bard). A giullare expresses herself with the working class oppressed by capitalism. The most body language, singing, and lines. They usually don’t prominent feature of Zanni and Alejino is “non-stop translate the content of the performance into a script, hunger.” Dario Fo used these two roles to show the and rely on experience and memory to do dilemmas of the poor society. improvisation on the stage for the play. They work Antonio Scuderi pointed out that Zanni is the most like a clown in the city, but also like a jester, who important figure in the early artistic comedies. It sometimes act as a messenger to the court and sing or evolved from Giovanni/Gianni in the Italian essay. sing the owner’s words to other royal families. Some Originally referring to the sixteenth-century Bergamo of them are people’s mouthpieces, singing out immigrants from Lombardy (Bergamo) to Venice for people’s sufferings, and laughing and yelling at those hard work, this role is synonymous with the classes of in power.[4] servants. With the artistic comedy spreading Fo has exemplified the role played by a giullare. In throughout Europe, Zanni is converted into “clown” the 16th century, the city of Berne in the Swiss in other European languages.[5] Confederacy was attacked by an enemy from “The Starving Zanni” is a short play in the drama of Burgundy. So the city organized volunteers against Dario O’Brien’s “Mistero Buffo” series. The first the enemy consisting of professional soldiers. In an performance was in 1969. Dario Fo sometimes open plain, the two armies confronted each other. At performed the play alone or with other operas. In this this time, when the sky was dawning, the sun just play, Dario Fo played Zanni and described his hunger. passed the enemy’s eyes. The generals of the enemy In deep desperation he imagined eating his own eyes, ordered the troops to hold their hands and wait for the feet, hands, pills, and buttocks. Then he broke his sun to rise a little and attack without the blocking of bowels and pulled out his internal organs. He the eyesight. Suddenly, there was a team of giullari in devoured them and ate them. From time to time he front of the garrison of Bern, some of them wearing cleaned up those internal organs, and then when he clown costumes on stilts, some riding on pigs, some found that the audience stared at him, he would let riding on donkeys, singing and dancing and acting, the audience decide which kind of internal organs

Proceedings of 46th Research World International Conference, Prague, Czech Republic, 21st -22nd June 2018 2 A Harlequin Analysisof Dario Fo’s Two Works was better; as he ate more, he became more hungry, by which the characters emerge outwardly and are the and as he became more hungry, he ate more food. As symbols of the sound and action shown by the play. he never felt full, he began to curse God, and later found that it was just a dream. The language used in V. THE TRANSVESTITE UGLYTHROUGH this play was grammelot, which is a technique of “ELIZSABETTA” articulation used to create a special situational context using sound language. In the play, Fo used an Dario’s drama “Elizsabetta” (Elizabeth) was onomatopoeic device to show the buzz of hungry published in 1984. The scene was in set in 1601. At gizzards, to pull out the visceral squeaks, to devour a that time, Queen Elizabeth was in her late years. swallowing sound, etc. What follows is a part There were two things that made her feel hurt. After performed by Fo in the play: her cousin Queen Mary of Scotland was executed on I am starving. Never been so hungry…oh God… February 1, 1857, the scene of her decapitated (Series of onomatopoeic sounds.) I could eat a foot, continued to appear in her nightmare. What is more, a knee, I’d chew up one ball, then the other ball, I the Earl of Essex, who was originally favored by the could devour my prick then I will get stuck into one Queen, led the army to quell the Irish rebellion. He buttock, then the other, can you just see me with violated the Queen's order and commanded his one buttock in my hand… damn…. I’ll chew all my misdeeds and was defeated. The Queen had to expel insides, I’ll stick a hand right up there and out him from the court. Essex was dissatisfied. In 1601 would come the guts… (Onomatopoeic sounds. he tangled a gang of rogues in London and launched a Mimes feeling great pain in backside.) ... I’ve torn rebellion. In order to cope with this situation, the my arse apart ... (Babble of sounds. Mimes hauling Queen was almost plunged into mental disorders. She his intestines from his stomach. Blows on them to even suspected that Shakespeare was involved clean them up a bit. Series of raspberries.) All that because, before the rebellion of Count Exeter, some shit… damnation what a word… aaah ... I’m of his accomplices went to the Troupe for Court ravenous… (Further tirade. Stops short. Goes Ministers and ordered the troupe to perform forward to front of stage.) What a lot of folk! Nice Shakespeare’s Richard II on the eve as a signal to people! Could tuck into one of you! (Onomatopoeic launch a rebellion. munching noises.)God, am I hungry! I’d eat a In the play, Queen Elizabeth was usually played by mountain, I’d suck the sea dry (Stops, looks up.) Franco Rame, the wife of Dario Fo, and he was half- And just as well for you, God, thatyou are not here, dressed as a cosmetologist, La Donnazza, who served otherwise, I’d eat your triangle…[6] Elisabeth. Shakespeare never really appeared on the In the last fragment, Zanni hand grabbed an stage, and Donnazza was a “bad woman” in Dario’s imaginary sauce pan, stuffed with things like chicken, play. In the event of Count Essex’s attempted polenta, and meat. In a hurry, he cut off his fingers, rebellion, Donnazza wanted to help the queen to stop mixes up with just those things, and ate it all. Then he the coup. However, the more she helped, the more took the pot and the wooden spoon. A series of she exposed the ugly state of the Queen. Donnazza simulated sounds were made: shaking the pot, performed the entire “Hamlet” story in front of the swallowing the remaining food, taking a spoon, and head of Elizabeth’s secret police. Dario Fo used this then swallowing the spoon. Then he shook his body play to satirize the queen’s regime. He performed the to help the stomach digest the food and spoon, giving Shakespeare tragedy in less than two minutes with the a deafening snoring. He wept and said to the audience, strange limbs and gibberish. The whole action was “I’m sorry,” He continued, “I’m still hungry, and I like playing a movie at a high rate of speed. The haven’t eaten yet.” While sobbing, he grabbed an police officer was simply overwhelmed. Dario Fo imaginary big fly, stared at the fly, and said to the fly, used the plot to mock the head of the police to remind “It’s so cute... Don’t run! You don’t run! You’re a the audience of the dullness and ignorance of the monster.’ Then, he pulled the fly’s legs in a silent Italian police at that time. manner. Lastly, he said, “Look at this hoof... this The policeman’s head was so irritated that Queen wing, this wing, I can eat them all.” Elizabeth wanted to stop Donnazza’s unreasonable Fo’s work revealed the hunger of oppressed people move to scare her to stop playing, but this “female and their desires to suppress the hunger through the ugly” was out of control when Queen Elizabeth monologue of a harlequin, Zhanni. It revealed the seized “her” left hand. “She” continued to play injustice imposed on all the oppressed by the superior mimetically with her right hand. When she bound her power ruler with the screams of anger and helpless hands, “she” still continued to perform with “his” feet. voice. Fo’sZanni showed the different external This piece of comedy is a scene often seen Dario Fo’s speech behaviors of the harlequin and real people. works. The awkward physical control of the queen The concrete manifestation is the unrealistic logic of was totally repressing the urge to ridicule the “female his speech acts. The normal reason and knowledge ugly”. He used the opposite sex to present Donnazza cannot make them reasonable. Due to the visual and in a play of the opposite sex (Donnazza was auditory features of theatrical performances, the personally played by Dario Fo). The entire drama words and behaviors of the harlequin are the means acted in vulgar and indecent style. Donnazza was a

Proceedings of 46th Research World International Conference, Prague, Czech Republic, 21st -22nd June 2018 3 A Harlequin Analysisof Dario Fo’s Two Works beautician of Queen Elizabeth in order to make The speech act of “female ugliness” in Elizabeth Queen Elizabeth more attractive and sexy to attract Tower does not seem to have any substantial role in his old lover, Earl of Essex, who used her mink to determining the destiny of the characters, which make Queen Elizabeth lose weight and put on high seems to be an “excessive role”. However, it is heels to improve her walking stance. He also used because of her existence that the audience feels a bees to bite her nipple making her chest look fuller. deeper understanding of the sorrow and helplessness The culmination of this absurd plot was that the of Elizabeth I as a Queen. The contrast between the queen couldn’t stand the pain of a sting, and her queen and “female ugliness” makes the satire more unbearable urine was sprayed on Donnazza (Mitchell powerful. “Female ugly” is faithful to her duties to 182~83). help the Queen to retain her youth. The queen could Queen Elizabeth did not learn from the rebel of the not resist the pain of plastic surgery. She fell into Count of Exeter in the play. The young man is the incontinence and made a fool out of herself. “Female secret of maintaining the Queen’s body and mind. ugliness” made a sharp contrast between the elegant Dario Fo also made up a story about Queen Elizabeth and virgin Queen of the history and the aged and her new lover Thomas (whom she called “boy” in urinating queen in Dario Fo’s drama. “Female ugly” the play) in Elizabeth Tower. When the Queen was would perform “Hamlet” in a “unwitting situation” to playing with Thomas, there was an intruder in the watch the secret police, revealing the Queen’s fear palace. The Queen was afraid that her affair would be that Shakespeare’s drama would remind the public of exposed. So, in a hurry, she ordered Donnazza and the legitimacy of her own regime. The ugly words of other maids to dress Thomas up as a woman. The plot “female ugliness” often make the self-appreciated is as follows: queen unguarded by telling the truth of “setting a fire Donnazza: Why don’t you try on these high-heeled and burning the theater”. clogs for size? If the Queen symbolizes the wisdom of reason and Elizabeth: Good idea. Come on, jump to it! See if the majesty of order, a harlequin automatically places you can walk in them. Come on, chin up-quick itself in the opposite of the normal person and exiles march. Mind you don’t topple over-you look like a itself from the normal order. “Female ugly” as a role paralytic duck. Clumsy clod. in Dario’s drama has become a symbol. On the one Boy: It’s hard with high heels. hand, it symbolizes the “normal” order and the “non- Elizabeth: Come on, chin up. Kidneys in-wiggle order” and “irrationality” outside of the rational your hips-that’s it. Splendid. Isn’t he a treat, Martha? world and the order of reality. Contrary to reason, the Lovely! You haven’t played little girls’ parts before, truth of reality is precisely the non-order and have you? You know I am the patron of a boy’s irrationality. What the “female ugliness” exposes is theatre company. the truth. The harlequin symbolizes the reversal of Boy: Yes, ma’am. The Queen’s Boys. truth and falsehood as well as phenomena and nature, Elizabeth: Not one of them makes a convincing girl. and also symbolizes the truth that Dario Fo’s drama You do though. attempts to reverse hypocrisy into reality in a fictional You’re making fun of me again. drama. The harlequin itself is the mechanism of Oh no I’m not. I was just about to let you in on a reversal. secret, Thomas. I’m too embarrassed now. Dario Fo used a transvestite female ugly character, Martha: Come on. Don’t you think it’s time you weaving the plot of beauty training and breast turned your attention to more serious matters? augmentation with the historical power struggle, Elizabeth: Oh get off my back, Martha. See, resulting in a sense of joy. According to history, Thomas, she doesn’t want me to talk about it. ancient stories are used as irony for modern times. Boy: You can be perfectly frank with me, ma’m. Although the events in the drama took place in Elizabeth: You won’t go blabbing about it? England in the 17th century, the interest of Dario Fo Donnazza: Spit it out, ma’m. Drop your clanger. was in Italy of the contemporary era. Through E: Right. I’m not a woman. In the complete sense. Elizabeth, he portrayed the image of a ruler, touched B: What? Not a woman? on the universality of the relationship between the Donnazza: What a sob story! theatrical arts and the rulers, and thus pinpointed E: Oh come on. I bet you’ve heard all the gossip Italy’s social and political reality. already. It’s a big topic of conversation at court. That blabbermouth Ben Jonson was even going to CONCLUSION write a play about it until someone burned his theater down and he had second thoughts. Dario Fo, through Zanni’s monologue in the “Hunger Martha: I should think so. of Zanni”, revealed the oppressed, hungry desire to Donnazza: Oh yes, I know him, the bastard. He was suppress the people, and revealed the injustice going to put that play on his theatre. What was it imposed on the oppressed by the superior, as Zanni called again?[7]（Mitchell，186~87） shouted out the anger and helplessness of the Elizabeth: Perforce a virgin. oppressed. In the play “Elizabeth Tower”, an ugly female character of transvestite was used to weave

Proceedings of 46th Research World International Conference, Prague, Czech Republic, 21st -22nd June 2018 4 A Harlequin Analysisof Dario Fo’s Two Works together the plot of beauty training and breast performances of harlequins, the audience can help augmentation with the historical power struggle, and relieve loneliness and anxiety, temporarily forgetting the irony for today is to pinpoint Italy’s social and all the pain and trouble in life. It allows the audience political reality. to deeply indulge in the psychological experience of The harlequin is a very active image of Fo’s drama. the events and situations that take place on the stage In the play, the group of harlequins looks like a kind and resonate to obtain a deep aesthetic experience. of force that is opposed to the upper class. Dario Fo The comical movements and humorous language of used the harlequin to shape the image of the lower harlequins are laughable not only for entertainment, people and convey the voice of the lower people. The but also for laughter created with satire, humor, confrontation between the harlequins and the power mockery, and wit; but, this laughter should give class constitutes a dramatic conflict in the larger people a sense of beauty and thought-provokingness framework. The “harlequins” are not as noble, and spiritual enjoyment. This has a purifying effect elegant and graceful as the kings, aristocrats, noble on the mind and body of the audience and even the ladies, or nobles. They use courtesy and are justified, entire society. They reveal a universal reality in life but they are not as hypocritical as those in the higher and restore the original reality of life with the ranks – always talking of morality but doing all the pedagogical implication. This is the deep bad deeds. It is not perfect or even has many entertainment function of harlequins, and it is also the shortcomings. However, they are sincere, simple, unique charm of harlequins. The joy brought to the sober, and practical. They can directly grasp the people by harlequins at the same time made us re- nature of phenomena or events and adopt flexible and recognize their status. Dario Fo repositioned the role practical methods to deal with problems. of harlequins and restored their true appearance. The “harlequin” originates from the play on the characters in the drama. Its implicit meaning is REFERENCES defined or constructed for a specific purpose. It gives the impression of being functional without personal [1] Farrell, Joseph. Dario Fo: Zanni and Giullare. in The will. “Only when the character is deeply enchanted Commedia Dell'Arte: From the Renaissance to Dario Fo, edited by Christopher Cairns, NY: Edwin Mellon Press, by this act of action, and only when he focuses on his 1989. imitative imitation and obsessed with the mask he [2] Fo, Dario. (trans. Joe Farrell ) The Tricks of the Trade, New wears, is the harlequin born out of this York：Routledge, 1991. meaninglessness (Sun Bai 276)”. The “harlequin” is a [3] Fo, Dario. (trans. Ed Emery ) Mistero Buffo, London： popular comedy character, and it is the most Methuen, 1988. [4] Fo, Dario. (trans. Ron Jenkins ) Elizabeth, almost by concentrated and typical representative of funny Chance a Waman, London：Methuen, 1987. characters. Harlequins are known for their ridiculous [5] Jenkins, Ron “Dario Fo: The Roar of the Clown” The behavior and ridiculous playfulness. They can not Drama Review, Vol. 30, No. 1, 1986, pp. 171-79. only adjust the atmosphere of the drama, but they are [6] Otto, Beatrice. Fools are Everywhere: The Court Jester used for a playwright as a means of moral reflection. around the World. Chicago：University of Chicago Press, 2001. The harlequin is like a mirror. Everyone can show [7] Michell, Tony. Dario Fo：People’s Court Jester. London: their own strange and distorted images. The harlequin Metheun, 1999. brings people the entertainment. After watching the

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