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DARIO FO: ZRODENIE KLAUNA

100%

Denci M.

Slovenské divadlo (Slovak Theatre)

2019

tom 67

nr 1

58 – 72

The study maps the work of an Italian performer and Nobel Prize winner for literature Dario Fo. Its base is a brief recap of the most significant episodes of Fo’s early career. The biographical part includes the comic’s first interactions with professional theatre, his experience with film, television and the emergence of his first theatre associations. There are also some basic ideas outlined, which inspired the form and content of Fo’s theatre. Dario Fo’s dramatic work is analysed through two titles that represent the main lines of his productions. The first line consists of a clown comedy (genre called giullarata) in which Mistero Buffo is the most important. The predominantly monologic forms, inspired by folk theatre, are mainly characterized by the grammelot language and the emphasis is placed on the performance and voice skills of the performer. In the second line, the attention of the author of the study focuses on grotesque comedies, represented by the farce Morte accidentale di un anarchico. The play inspired by an actual event has responded to the current social context and stimulated social debate. At the same time, the genesis analysis of both works reveals Dario Fo’s creative processes.

WHERE IS THE SPEECH THAT MATTERS? ON THE SILENCE OF THE CZECH THEATRE PROFESSIONALS IN A CRISIS

63%

Motal J.

nr 3

276 – 292

The essay presents the thesis that despite their activist tradition, Czech theatres abandoned any social criticism during the COVID-19 pandemic because they were unable to speak publicly about the structural conditions of the crisis (over-tourism, mobility, etc.) and possibilities for change. The author argues that it is because the language of theatre professionals is nowadays shallow and clichéd and serves rather as a strategy to secure the positions in the artistic field than the true speech capable of addressing the public. This situation is interpreted in terms of neoliberalism/capitalist realism (Mark Fisher) producing the pragmatic language incapable of imagination and transformation. The intellectuals’ speech of transcendentals (detached from the reality) is contrasted with true speech (Martin Buber, François Laruelle) originating in immanence. The artists are depicted as the keepers of personal, archetypal language capable of producing universal (“terrestrial” – Bruno Latour) images of utopia. This is discussed especially in the context of the environmental crisis.