fo

Fo, on catharis:

'I realised we needed a decoy character, a surety, so to speak. And then I got the idea that this surety could be a madman who holds the key . . . to all the madness, and he becomes normal, while everything else is abnormal. A total reversal. Another important thing we noticed in explanantions of the story was indignation . . . we realised that indignation is really a means of catharsis, liberation and letting off steam. This . . . becomes central . . . The play was conceived in a grotesque and satirical style to avoid any dramatic catharsis. If we had created a dramatic play instead of a comic, grotesque and satirical play, we would have created another liberating catharsis. But this play doesn't allow you this outlet, because when you laugh, the sediment of anger stays inside you, and can't get out. It's no wonder dictatorial governments always forbid laughter and satire first, rather than drama.'

Fo, 1970, in Meldolesi, pp. 178-179.

Fo, on burping:

'But what has been the real reason for the show's success? It is not so much the way it mocks the hypocrisies, the lies that are organised so grossly and blatantly (which is putting it mildy) by the constituted organs of the State and by the functionaries who server them (judges, police chiefs, prefects, undersecretaries and ministers); above all it has been the way it deals with social democracy and its crocodile tears, the indignation which can be relived by a little burp in the form of a scandal; scandal as a liberating catharsis of the system . . . But unluckily for them, they will have to realise that there are a lot of us . . . and this time their burp is going to stick in their throats.'

Fo, Postscript to Accidental Death of an Anarchist, trans. Ed Emery, 1974, pp.77-78.

Fo, on interpretations:

'Obviously, the shows have to be altered when they're transported into a British context. They take on other values, other modes of expression, other cultural styles, etc.'

Fo, in Riverside Workshops, Red Notes, 1983, pp. 67-68.

Fo, on comedy:

'Don't call my play a comedy. There is a misunderstanding of the word. I call it farce. In current language, farce is understood as vulgar, trivial, facile, very simple. In truth, this is a cliche of official culture. What they call comedy today has lost the rebellious strain of ancient times. What is provocative and rebellious is farce. The establishment goes for comedy, the people for farce.'

Fo, Programmed Note for Washington Arena Production of Accidental Death, 1984.

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