'The quality that makes Fo uniquely powerful [is] the ability to wring wild laughter out of insidious corruption' Guardian 'Simon Nye's witty translation updates and relocates the play suitably close to contemporary England. Fo is that rare thing, a far-left playwright with a popular, comic touch. And his stinging attack upon the black arts of government cover-up, manipulation and mendacity could not be more timely' Evening Standard In its first two years of production, Dario Fo's controversial farce, Accidental Death of an Anarchist, was seen by over half a million people. It has since been performed all over the world and is widely recognised as a classic of modern drama. A sharp and hilarious satire on political corruption, it concerns the case of an anarchist railway worker who, in 1969, 'fell' to his death from a police headquarters window. This version of the play was premiered at the Donmar Warehouse, London, in February 2003. Commentary and notes by Joseph Farrell.
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"The quality that makes Fo uniquely powerful [is] the ability to wring wild laughter out of insidious corruption."--"Guardian"
"Simon Nye's witty translation updates and relocates the play suitably close to contemporary England. Fo is that rare thing, a far-left playwright with a popular, comic touch. And his stinging attack upon the black arts of government cover-up, manipulation and mendacity could not be more timely."-- "Evening Standard"
About the Author
A popular and controversial playwright, actor and director, Dario Fo has earned international acclaim for his political satires and farces, and has led the field in political satire in Europe for over thirty years. His best known plays include Accidental Death of an Anarchist, We Won't Pay! We Won't Pay!, and Orgasmo Adulto Escapes from the Zoo. He was awarded the Nobel Prize for Literature in 1997 for "emulating the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden." Joseph Farrell is Senior Lecturer in Italian Studies at the University of Strathclyde. He has written on and translated Italian theatre widely. He is theatre reviewer for The Scotsman, as well as the author of Dario Fo and France Rame: Harlequins of the Revolution (Methuen, 2001), and has edited A History of Italian Theatre (CUP, 2006) as well as Methuen Student editions of Six Characters in Search of an Author and Accidental Death of an Anarchist.
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars
Anarchists are often very eccentric, he may well have been wearing galloshes
17 Aug 2012
Format:Paperback
Although I preferred "We Can't Pay, we Won't Pay" this was great late seventies political theatre. Saw two versions of it. One in London, brilliant and a mediocre version in Auckland, New Zealand. Anarchist to the core, it was a Gatling gun of absurd dialogue, high octane slap-stick farce and a serious, underlying political message. At the heart of the play is the unexplained death of a railway worker helping Italian police "with their enquiries". Set in Italy, at a time of Red Brigade and a more defined political landscape. We thought it could never happen here (England). Enter stage left one Margaret Thatcher. Oh dear. As a play, it is better seen than read and I pick, more relevant in Italian than English. But a modern classic? It certainly is. Now, I am sure there was a man with a parrot on his shoulder somewhere in the production I saw.
8 of 11 people found the following review helpful
Format:Paperback
I truly enjoyed this play and again am wondering why it is not put on more often. Granted, it has a specific political objective, due to its timely plot and circumstancial event. Yet, as a performer, I find the quality of writing to be extremely wonderful. Interestingly, I also discovered that Fo's viewpoint on comedic and political theatre to be very similar to my own:
(It) grabs at the heart and guts, but attempts to get there by a violent moment of laughter. Because laughter does not remain at the bottom of the mind, leaving sediment which cannot be wiped off. Because laughter helps avoid one of the worst dangers, which is catharsis. (5)
(It) grabs at the heart and guts, but attempts to get there by a violent moment of laughter. Because laughter does not remain at the bottom of the mind, leaving sediment which cannot be wiped off. Because laughter helps avoid one of the worst dangers, which is catharsis. (5)
Fo wanted the reverse of catharsis, the emotional release, and it is very apparent in Accidental Death of an Anarchist. He seeks to provoke, debate, to arouse feelings and to challenge ideas while inviting his audience to consider new points of view. I respect this form of theatre, for it is the hardest to write, collaborate, and present clearly to an already cynical audience in this day and age. By using an absurdist/satirical/farcial approach towards the issues of power, its abuse, and political stations, he creates sense out of nonsensical characters and situations. The maniac, a harliquien like character, leads the members of a police station somewhere in a city, in this case we assume New York or London, through a dizzying investigation around the questionable death of an anarchist from years before. Mysteriously, the anarchist had "thrown" himself from a four story window during the course of police investigation. We, the audience suspect foul play for the cause, and in effect we see the maniac give nothing but insane play to the accused. He is quick witted and incredibly dynamic with language and vast information. The maniac flaunts with their pride and guilt, causing mass confusion. The audience cannot help but love his crazy ways. In true satiric fasion, just and darkly comedic rewards are served to all characters by the end. The audience is left wondering how these events effect them. The ever present window in the scene is the only realistic element that the audience must contend with. It reminds them of the reality of the crime, how it really took place, and yet they are forced to laugh at it and find disgust in that humor. It is this form of satire that provokes thoughts and action towards change, which is what Fo wanted. It is this subtle stealthiness of dark humor that creates the desired effect of political theatre: change, perhaps for the better, or in this case, for the playwrights cause.
1 of 2 people found the following review helpful
Format:Paperback
I first saw this play 20-some years ago as a drama student. It is still as funny & subversive in the noughties as it was in the eighties!
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Most Recent Customer Reviews
5.0 out of 5 stars
Pure genius
Comic mayhem, with the protagonist's point reasoned to pure genius. The hero of this play runs verbal circles around everyone in his path.
Published on 16 Feb 2008 by MYB74
4.0 out of 5 stars
Excellent drama
I enjoyed reading this book as the sense of comedy was innovative as well as cunning. Being as short a play as it is, i would recommend it for a day's quick read. Read more
Published on 24 Dec 2007 by Markos
5.0 out of 5 stars
Hilarious satire
Fo's play is comic satire at its best, the material on which the play is based may not have the same impact as in Italy or as in the 70s but one can imagine a suitable adaptation... Read more
Published on 23 Mar 2003
5.0 out of 5 stars
Itallian Anarchy to British sense of humour brilliantly
Although not Fo's original concept, this has been adapted to appeal to the weird British sense of humour in a hillarious farcical scenario! Read more
Published on 30 Dec 2000
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