Mary Under The Cross Analysis

Although this thesis is still being revised, it states: Dario Fo had political and social triggers that led him down the path to creating a more modern—and revolutionary—giullare storytelling style that is comprehensible to masses around the world. I chose my focus(es) for multiple reasons. The first is that I need to understand why he revised biblical stories and, specifically, “Mary Under the Cross”. I believe if I understand why he chose it politically and socially, I can connect to it as well and create a better final product. Additionally, it is essential that I comprehend how it was revised by Fo and—hopefully—it will be helpful to my work on the scene. The first category I’m going to research will have to do with Dario Fo and his connection …show more content…
As someone who is not religious, I am only somewhat familiar with the story; however, I think it is vital to be able to compare and contrast the Biblical version and Dario Fo’s version. This obviously means that I will use the Mistero Buffo script and introductory material provided. This is important to my process of working on “Mary Under the Cross” because I need to be able to analyze it thoroughly and then—as an outline—make every move, character, and emotion specific. Because I will be speaking in Gramellot, it is vital that the audience understand every move that I make in order to understand the …show more content…
The Bible and Mistero Buffo will be helpful in comprehending the similarities and differences between the texts. Moreover, I will grasp the desperation of Mary more. The next source I will use includes lots of the information I need for my questions and research topics stated above: Dario Fo: Revolutionary Theatre. This source includes information on the political and social bones of the guillari. It defines who the guillari is and what they performed, as well. Another aspect it includes is Fo’s own political views and ow he wanted his performance to be for the working class audience. The book further delves into the definition and the use of grammelot. Finally, it provides the Vatican’s response to Mistero Buffo and the writing and performance of the stories. Brenner-Idan’s work, meanwhile, provides some of Mary’s background and dealing with being a “Hero’s Mother”. In dealing with that, I’m sure it’s a lot of pressure on Mary and I must understand that as I create her character. Next, Scuderi’s works provide information on framing the piece to achieve metacommunication across language and cultural barriers and talks a bit about the epic theatre material that Fo was creating. In the next chapter, it gives details on Antonio Gramsei and his politics, an inspiration for Fo. Moreover, it gives me information about why Fo chose to support and represent the working