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Playwrights Franca Rame and Dario Fo are known for their use of laughter as an instrument to ridicule the powerful and empower the underprivileged classes. Of their long period in activity, probably the most engaged is the 1970s, a time when, among others, they wrote the play Non si paga, non si paga (1974; 2000), recently translated into the audiovisual in Brazil, in the film Não vamos pagar nada, written by Renato Fagundes and directed by João Fonseca, released in October 2020. This work intends to investigate how this translation adapts the work of Rame and Fo to the Brazilian political context of the pandemic. Important references for our reflection are Diniz, Edo, Rosenfeld and Zatlin, and on the theater of Fo and Rame, Farrell., Os dramaturgos Franca Rame e Dario Fo são conhecidos pelo uso do riso como instrumento de ridicularização dos poderosos e fortalecimento das classes menos favorecidas. De seu longo período em atividade, provavelmente o mais engajado é a década de 1970, época em que, entre outras, escreveram a peça Non si paga, non si paga (1974; 2000), recentemente traduzida para o audiovisual no Brasil, no filme Não vamos pagar nada, escrito por Renato Fagundes e dirigido por João Fonseca, lançado em outubro de 2020. Este trabalho pretende investigar de que forma essa tradução adapta a obra de Rame e Fo para o contexto político brasileiro da pandemia, além de “traduzir” um texto teatral para o cinema. Referências importantes para a nossa reflexão são Diniz, Edo, Rosenfeld e Zatlin, e sobre o teatro de Fo e Rame, Farrell.

My thesis was intended to inform readers about the one-woman show I performed, A Mother. In addition, my thesis described job positions within my field and the research I conducted for my production. Essentially, this may allow readers without any experience in the theatre to understand the process an actor undergoes during a production. Typically there are many people on a production team performing various roles. Instead, my tremendous challenge was acting as producer, director, actor, event coordinator, part designer, and marketing director. This paper includes acting advice from classmates, my instructor, Larry McDonald, and details of my use of the acting methods of Sanford Meisner. The most significant resources I used for assistance with character work and directorial decisions are included. The script of A Mother was written by the late Franca Rame and, Dario Fo who won the 1997 Nobel Prize for Literature.

My thesis was intended to inform readers about the one-woman show I performed, A Mother. In addition, my thesis described job positions within my field and the research I conducted for my production. Essentially, this may allow readers without any experience in the theatre to understand the process an actor undergoes during a production. Typically there are many people on a production team performing various roles. Instead, my tremendous challenge was acting as producer, director, actor, event coordinator, part designer, and marketing director. This paper includes acting advice from classmates, my instructor, Larry McDonald, and details of my use of the acting methods of Sanford Meisner. The most significant resources I used for assistance with character work and directorial decisions are included. The script of A Mother was written by the late Franca Rame and, Dario Fo who won the 1997 Nobel Prize for Literature.

The protagonist of “Una donna sola” is a housewife who keeps a monologue with herself and with several invisible people outside the stage. As the plot develops different types of dialogic relationships and verbal interactions are introduced in the story. The protagonist, thr ough her mono-dialogue, moves from a state of unconsciousness to one of awarene ss, from a passive victim to an active subject. Her character is the “crazy” woman who shows uncomfortable truths. The deliberate staging of the subordinate role of women becomes a form of Querelle. On the one hand Franca Rame denounces violence and male authoritarianism, on the other hand she proposes the deconstruction and reconstruction of female identities.

The protagonist of “Una donna sola” is a housewife who keeps a monologue with herself and with several invisible people outside the stage. As the plot develops different types of dialogic relationships and verbal interactions are introduced in the story. The protagonist, thr ough her mono-dialogue, moves from a state of unconsciousness to one of awarene ss, from a passive victim to an active subject. Her character is the “crazy” woman who shows uncomfortable truths. The deliberate staging of the subordinate role of women becomes a form of Querelle. On the one hand Franca Rame denounces violence and male authoritarianism, on the other hand she proposes the deconstruction and reconstruction of female identities.

The protagonist of “Una donna sola” is a housewife who keeps a monologue with herself and with several invisible people outside the stage. As the plot develops different types of dialogic relationships and verbal interactions are introduced in the story. The protagonist, thr ough her mono-dialogue, moves from a state of unconsciousness to one of awarene ss, from a passive victim to an active subject. Her character is the “crazy” woman who shows uncomfortable truths. The deliberate staging of the subordinate role of women becomes a form of Querelle. On the one hand Franca Rame denounces violence and male authoritarianism, on the other hand she proposes the deconstruction and reconstruction of female identities.

The protagonist of “Una donna sola” is a housewife who keeps a monologue with herself and with several invisible people outside the stage. As the plot develops different types of dialogic relationships and verbal interactions are introduced in the story. The protagonist, thr ough her mono-dialogue, moves from a state of unconsciousness to one of awarene ss, from a passive victim to an active subject. Her character is the “crazy” woman who shows uncomfortable truths. The deliberate staging of the subordinate role of women becomes a form of Querelle. On the one hand Franca Rame denounces violence and male authoritarianism, on the other hand she proposes the deconstruction and reconstruction of female identities.

The protagonist of “Una donna sola” is a housewife who keeps a monologue with herself and with several invisible people outside the stage. As the plot develops different types of dialogic relationships and verbal interactions are introduced in the story. The protagonist, thr ough her mono-dialogue, moves from a state of unconsciousness to one of awarene ss, from a passive victim to an active subject. Her character is the “crazy” woman who shows uncomfortable truths. The deliberate staging of the subordinate role of women becomes a form of Querelle. On the one hand Franca Rame denounces violence and male authoritarianism, on the other hand she proposes the deconstruction and reconstruction of female identities.

The protagonist of “Una donna sola” is a housewife who keeps a monologue with herself and with several invisible people outside the stage. As the plot develops different types of dialogic relationships and verbal interactions are introduced in the story. The protagonist, thr ough her mono-dialogue, moves from a state of unconsciousness to one of awarene ss, from a passive victim to an active subject. Her character is the “crazy” woman who shows uncomfortable truths. The deliberate staging of the subordinate role of women becomes a form of Querelle. On the one hand Franca Rame denounces violence and male authoritarianism, on the other hand she proposes the deconstruction and reconstruction of female identities.

The protagonist of “Una donna sola” is a housewife who keeps a monologue with herself and with several invisible people outside the stage. As the plot develops different types of dialogic relationships and verbal interactions are introduced in the story. The protagonist, thr ough her mono-dialogue, moves from a state of unconsciousness to one of awarene ss, from a passive victim to an active subject. Her character is the “crazy” woman who shows uncomfortable truths. The deliberate staging of the subordinate role of women becomes a form of Querelle. On the one hand Franca Rame denounces violence and male authoritarianism, on the other hand she proposes the deconstruction and reconstruction of female identities.

The protagonist of “Una donna sola” is a housewife who keeps a monologue with herself and with several invisible people outside the stage. As the plot develops different types of dialogic relationships and verbal interactions are introduced in the story. The protagonist, through her mono-dialogue, moves from a state of unconsciousness to one of awareness, from a passive victim to an active subject. Her character is the “crazy” woman who shows uncomfortable truths. The deliberate staging of the subordinate role of women becomes a form of Querelle. On the one hand Franca Rame denounces violence and male authoritarianism, on the other hand she proposes the deconstruction and reconstruction of female identities., The protagonist of “Una donna sola” is a housewife who keeps a monologue with herself and with several invisible people outside the stage. As the plot develops different types of dialogic relationships and verbal interactions are introduced in the story. The protagonist, through her mono-dialogue, moves from a state of unconsciousness to one of awareness, from a passive victim to an active subject. Her character is the “crazy” woman who shows uncomfortable truths. The deliberate staging of the subordinate role of women becomes a form of Querelle. On the one hand Franca Rame denounces violence and male authoritarianism, on the other hand she proposes the deconstruction and reconstruction of female identities.

Questo breve contributo analizza un caso storico di performance teatrale ospitata in tv. Il caso analizzato risale al 1987 ed ebbe per protagonista Franca Rame e il suo celebre monologo "Lo stupro", ospitato per l'occasione dal varietà "Fantastico", ideato e condotto da Adriano Celentano.

la Nota ricostruisce il percorso di creazione e presentazione al pubblico in diverse occasioni e modalità del monologo "lo Stupro" scritto da Franca Rame su base autobiografica

Italian actress Franca Rame died 29.5.2013. I knew her for more than 40 years, and here I try to caracterize her political and artistic carreer.

Italian actress Franca Rame died 29.5.2013. I knew her for more than 40 years, and here I try to caracterize her political and artistic carreer.

il contributo lavora sulle tecniche attoriali e le strategie di coinvolgimento con cui il teatro di dario fo e franca rame costruisce un rapporto forte e diretto col pubblico, che passa attraverso sapienti e opportune rotture della quarta parete e della finzione. tecniche artistiche al servizio di strategie politiche