(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.