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En este artículo me propongo estudiar la recepción de la obra de Dario Fo y de Franca Rame en España durante el periodo que va de los años setenta hasta finales de los años noventa. Para ello pasa-remos revista a las traducciones y a las representaciones que se realizan en estas tres décadas en España tanto en castellano como en catalán, analizando artículos, reportajes y entrevistas que sobre ellos se publican en la prensa diaria y en las revistas. 1997 es un año clave en la recepción porque la polémica concesión del Premio Nobel de Literatura a Fo pone a estas dos figuras en el centro de atención de nuestros medios escritos y aumenta considerablemen-te el número de publicaciones y representaciones de sus obras en España.

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. &nbsp

Dario Fo e Franca Rame sono stati i teatrologhi italiani più riconosciuti della seconda metà del Novecento, famosi per la loro arte popolare e impegnata, che intendeva far riflettere – e, di conseguenza, emancipare – attraverso la comicità. Questo lavoro pretende discorrere sul loro processo creativo e la conseguente scrittura dei testi teatrali, a partire principalmente dalla lettura della tesi di Maria Teresa Pizza, intitolata “Al Lavoro com Dario Fo e Franca Rame: Genesi e composizione dell’Opera Teatrale.” Per il caso di Fo, la creazione risulta indissociabile dal ludico e dalla quotidianità, l’esperienza creativa è un continuum non solo temporale, ma anche spaziale e transmediale. Nel caso di Rame, invece, la creazione si basa su una particolare sensibilità al ritmo della scena e un’ottima capacità di improvvisazione, alla quale segue un lavoro continuo di rielaborazione e perfezionamento dell’opera, il quale ha dato origine non solo alle numerose pubblicazioni della coppia, ma anche ad un archivio on-line con oltre 5 milioni di documenti sulle loro opere, nel rispetto della molteplicità dei linguaggi coinvolti sia nella creazione che nella realizzazione di ogni loro testo. Dario Fo and Franca Rame were the most recognized Italian teatrologists of the second half of the twentieth century, famous for their popular and committed art, which intended to provoke people to reflect – and, consequently, emancipate – through comedy. This work aims to talk about their creative process and the consequent writing of theatrical texts, starting especially from the reading of the thesis of Maria Teresa Pizza, entitled “At Work with Dario Fo and Franca Rame: Genesis and composition of the Theatrical Work.” For Fo’s case, creation is inseparable from playful and everyday life, the creative experience is not only a temporal, but also a spatial and a transmedia continuum. In the case of Rame, instead, the creation is based on a particular sensitivity to the rhythm of the scene and an excellent capacity for improvisation, followed by a continuous labor of remaking and perfecting the work, which gave rise not only to the couple’s numerous publications, but also to an online archive with over 5 million documents on their works, respecting the multiplicity of languages involved both in the creation and in the execution of each of their texts.

The stake in a heated discussion on reviving tarantism in the Salentian culture by initiators and partcicipants of the project ‘The spider of a dancing god’ was the reinterpretation of the phenomenon itself: tarantism, which was perceived as a thing of the past and an embarrassing social problem, was to become artistically modified, namely isolated from life and displayed on stage. Rejecting tarantism as a folk practice and an attempt at representing it could also be interpreted as turning a blind eye to the problem of a woman’s position in society, without proposing anything in turn. Technological and social progress did not go hand in hand with the emancipation of an Italian woman. Luigi Piradnello in his drama, and Franka Rame in her monodrama captured this phenomenon brilliantly.