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Dramatic and theatrical works of Dario Fo are a part of the wider research of the grant task on Migration of Italian and German Culture in the Central European Cultural Area. Some singularities emerged during the reception of Dario Fo, Italian playwright, actor and director: the continuity of dramatic and theatre-publishing links remained to the rest of the Europe until 1990, especially thanks to translations and organizational work of Blahoslav Hecko, the founder of the agency DILIZA. Moreover, the paper focuses on the reconstruction of the staging concepts of Fo's plays staged in Slovakia: Archangels Don't Play Pinball (Otto Haas, 1963), He Who Steals a Foot Is Lucky in Love (K. Spisak, 1976), and also various versions of Comic Mystery (DSNP Martin 1995, Kosice 2003), with a brief comparison of his reception in the Czech context, especially directed by Peter Scherhaufer.
(Slovak title: Autorsko-herecka poetika Daria Fo v stredoeuropskom kontexte (Dario Fo a jeho Maly manual herca v kontexte jeho divadla)). The paper is a continuation of Preco je Dario Fo nositelom Nobelovej ceny? (What Makes Dario Fo the Nobel Prize Winner?), published in Slovak Theatre No. 4/2009. This time, the author-and-actor poetics of Dario Fo is in the centre of attention; it is analysed and recreated against the backdrop of the comparisons with theatre theoreticians, such as Konstantin Stanislavsky, Bertoldt Brecht, Luca Ronconi, and also Jerzy Grotowski. What one finds in Dario Fo is Stanislavsky's identification with the character, however, without the mystic element, Brecht's educated actor, however, without the effect of alienation, the simplicity of costumes and the stage typical of the poor theatre. This blend, or collage if you will, of several well-known 20th century theatre techniques, enriched with internalisation and foregrounding and the updating of the jocular theatre technique and add flair of originality to the Fo's author-and-actor poetics.
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