We have seen a king. A king’s jester, of course, but fully sovereign in his time and in his space. The greatness of the artist Dario Fo is written in the universal history of culture. The Nobel prize winner of 1997 has only ratified academically, as was the case today happens to Bob Dylan, a glow of joy in a day of sadness. Only the most narrow-minded of our not infrequently grettissimo Country could surprise recognition at the Fo and even dolersene. Fo us enjoyed, as they gnawed on the “reactionary”, a word which for him has always had a significance historically and culturally accurate, and that he never stopped using.
The scene was indeed a king, with words and gestures (his facial expressions!), with a vitality and artistic richness to be reckoned with. But in his being, even the jester was the best and the most of his speak and act in political and civil. That was also the most discussed and controversial. Always. His enemies, the boasting, the remote accession, at the age of seventeen, to the Republic of Salò. He explained some with the youth, but also as a way to defend the activity in the anti-fascist father. The concealment of a choice of the family – democratic, anti-fascist, libertarian – that will then be his for all life, a choice is then made more radical by the meeting with Franca Rame, whose political influence on Dario was not inferior to his artistic contribution.
In the fifties and in the early sixties accompanied – accompanied – the hopes of reconstruction and then of the economic boom with a healthy juxtaposition to the satire that proved ultimately prophetic. The "economic miracle" was the persistent cultural backwardness, and new social injustices, and closure policies, whose complaint cost him his expulsion from the tv.
From '68 onwards, especially, Fo (Franca), saw in the youth movements, and then movements, collective stemming from that season, the point of reference, and, together, the new subjects to accompany and to support, sometimes to protect with their shadow magna, which became in Italy and in the world via the most prestigious. If they were in the first place the forces of the new left, the militants who had trouble with the law, thanks to the Aid of the Red and especially Franca was the soul, the thousands of specific causes, of which both were passionate and generous, the paladins, the search for the truth on Fountain Square, and on the death of Pinelli, until the case of the Eu, from the tragedies of the work to those of immigration (which, recently, has devoted a shocking story, "A man burned alive", written with Floriza Cazacu, daughter of the worker of the Romanian Ion burned alive from the master that he had only asked to be put in the rule).
This ceaseless, tireless militant activity, entwined with the cultural work, the cost of lawsuits, arrests, insults, exclusions, and Franca, the terrible price of the rape by the fascist fed by the apparatus of the State. Not even this prevented him to continue to be until the end of the jester irreverent and subversive, and, together, to keep the awareness of ruling the theatrical scene and the prominence of Italian culture and the international authority of the great art. Bring all of this in the political arena, and from the most unorthodox part, able to take risks and perhaps make mistakes, with enthusiasm and ingenuity, with courage, trying to change things, it was an act of generosity, of which perhaps he had, however, also need to be true to itself and to its values.
what, finally, has benefited from the M5S, not coincidentally founded by another "strolling casually" bright and restless, and without masters. The Movement of his friend Beppe, Dario Fo, was perhaps the
the sixth star, but it was with a splendor of its own, unmistakable and irreducible, as had happened in the past. For this shines still, and shall shine for all, for anyone who loves, as he said, “jump into life with joy and freedom.”
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