Dario Fo – Observations and Misunderstandings

If there’s one thing I’m good at it’s being distracted from the current book I’m reading with another. I envy these fast readers who can sit down and complete a book in a few days. I’m more of a few weeks to a few months depending on the distractions around me type of person. There’s one book I’ve been reading for nearly a year now, I really enjoy reading it too so it’s not as simple as it may seem at first. I wonder if I’m a victim of how we process entertainment these days. I’m not sure I like calling myself a victim but more I’ve allowed myself to get caught up in the culture of short bitesize moments of pleasure.

I love a website called Aeon – which I’ve written a piece on here about before – that has some incredibly interesting articles. They’re not always a light read, not difficult but sometimes they require more effort than something on a website devoted to football. The articles on there are usually about three to four thousand words and despite knowing they’re interesting and that I can learn from them; a combination of the effort involved in the length and with the mental effort required slightly above minimum, I’ll not always bother. I prefer fiction books to non-fiction even if the topic in the non-fiction is potentially really interesting. Partly this is because I genuinely enjoy stories and the way meaning and message can evolve in this style.

The more I write about this I suspect I’m just lazy and ill disciplined. Aeon requires a bit more effort than football news and non-fiction potentially more than a story to follow and get into. I am leaping from one extreme to the other though, this is never a black and white argument unless I generalise which I seem to have been doing. This piece today was going to be another review and as seems to be a bit of a trend it was going to be a play. Dario Fo‘s Can’t Pay, Won’t Pay to be precise. I’ve mentioned Dario Fo in a previous review of one of his plays, Accidental Death Of An Anarchist. He wrote political and social plays on the whole and this is a large part of what has drawn me to him. Take into consideration everything I have mentioned and you can see what leads me to a play. Something that’ll take me one to two hours to read followed by that rosy sense of accomplishment.

Can’t Pay, Won’t Pay is the story of two couples caught up in different situations in which people push the boundaries of stealing. The prices in the supermarket increase once more so the women riot and take what they want, only paying a minimum compensation to the shop. “I paid half price for half my goods”. While the husbands get caught up in similar as the canteen at work increases the prices and the workers simply serve themselves. Unlike the wives though the husbands take a stance against this seeing it as stealing. What ensues is a comedy involving fake pregnancies, avoiding the law and hypocrisy, all as Fo dissects the moral arguments behind whether there can be such a thing as justifiable theft.

The varying levels of hidden meaning in stories is what draws me to fiction. We can analyse what the playwright or the author intended with certain bits. I may not have appreciated it much at school but it is something I certainly enjoy now. For example, despite not having the most flamboyant of styles, I enjoy Sartre’s fiction far more than his non-fiction, even though they’re both variants of his philosophical discourse. Maybe lazy and ill disciplined is in itself a lazy understanding of something which as I’ve already mentioned is not a black and white issue. Interpretation for me is everything, and can’t pay won’t pay, I suspect I know what I would do.

Another new playwright has crossed my path. Dario Fo wrote Accidental Death Of An Anarchist in response to the 1969 death of an anarchist in police custody Milan. He had been accused of the bombing of the Agricultural Bank which had resulted in the deaths of sixteen people. While in custody he, according to the official account at the time, committed suicide by jumping out of the window on the fourth floor of the police headquarters. Ten years later three fascists were convicted of the crime, some of whom were agents of the secret police, and in court proceedings it was determined that the major actors behind the bombing had been senior ministers and Generals who were condemned before being acquitted. The state once more protected it’s own while allowing those at the bottom who actually committed the act itself to go down for it. The play was written prior to this final outcome and was partly in response to a dearth of reporting from both sides of the political spectrum, the right-wing for obvious reasons and the Communists because they’re little more than power hungry political stooges themselves.

The play is set one week after the event and Fo uses the character titled Maniac to highlight the ridiculous nature of the police account of events, their incompetence and as a vehicle to get his political message across. I’m sure there’s a name for this type of character in a play but I forget what I learnt in school. While serious and dry approaches to storytelling always have their place, there is a particular way satire manages to express an idea and create an understanding in the audience. It is more accessible, despite it being on a serious topic comedy allows people to take it in without feeling they need to immediately react in a serious manner. Fo does this expertly and through his use of the Maniac manages to create a situation in which the police expose their own corruption and the left wing reporter her own hypocrisy.

To quote the Maniac in one of his more lucid moments;

“Why not ask yourself, Miss Feletti, what sort of democracy requires the services of dogs such as these? I’ll tell you. Bourgeois democracy which wears a thin skin of human rights to keep out the cold, but when things hot up, when the rotten plots of the ruling class fail to silence ours demands, when they have put the population on the dole queue and squeezed the other half dry with wage cuts to keep themselves in profit, when they have run out of promises, and you reformists have failed to keep the masses in order for them; well then they shed their skins and dump you, as they did in Chile*, and set their wildest dogs loose on us all”

*While events in Chile happened after the original was written, the text I read from was translated and adapted in the 1980s hence the reference.

Tag: Dario Fo

Can’t Pay, Won’t Pay

BR#9 – Accidental Death Of An Anarchist