In addition to playwright, Dario Fo is also director, stage and costume designer, and on occasion he even composes the music for his plays.
France Rame, his leading actress, has assisted in and contributed to the writing of many of the plays they have produced in their 45 years of theatre together. She has also assumed the administrative and organizational responsibility for the Fo-Rame Company.

Franca Rame Franca Rame was born in Parabiago, a small town in the Province of Milan. That she happened to be born there was pure chance: her family was performing in the town at the time. Her father Domenico, her mother Emilia and her brother, along with aunts, uncles, cousins and other actors and actresses hired on contract, were all part of a travelling theatre troupe touring the towns and villages of Lombardy and Piedmont.

The Rame family's ties to the theatre are very old. Since the late 17th century, they have been actors, and puppet masters, as the occasion required.

With the arrival of the cinema they shifted from puppet theatre to real theatre, enriched with all the "special effects" of the puppet theatre. They travelled from town to town, and were well received wherever they went.

Even today, her personal success in theatre and television notwithstanding, people in these towns still often refer to Franca as "the daughter of Domenico Rame". In the best tradition of the Commedia dell'Arte, the family improvised its performances, drawing on a rich repertoire of tragic and comical situations and dialogues.

They often opened in a new town - following a poll among the townspeople - with an enactment of the life of the local patron saint.

The family's repertoire ranged from the biblical texts over Shakespeare to Chekhov and Pirandello; from Niccodemi to the great l9th century historical novels - especially those with a socialist or anticlerical bent. Often their performances included enactments of the lives of men such as Giordano Bruno, Arnaldo da Brescia and Galileo Galilei.

Domenico Rame was the troupe's poet; a devout socialist, he often saw to it that the revenue from a performance was given in support of striking workers or used to build child-care facilities, or in other ways spent to improve the lives of the common people. The minutely documented records of this activity, which remains in the Rame-Fo archives, was probably maintained by Franca's mother Emilia Baldini, a school teacher and daughter of a municipal engineer in Bobbio.

As a young school teacher, Emilia fell in love with Domenico - twenty years her senior - who was passing through Bobbio with his marionettes and puppets. She married him, against the strong wishes of her family, and together they continued to tour all of Lombardy. Emilia soon learned the trades of acting and costume designer. It was she who taught their four children to act and to move on the stage. She was an outstanding woman, meticulous in all her work and an excellent organizer. In the end it was she who carried the troupe on her shoulders.

It was in this environment that Franca earned her apprenticeship. She has always felt at home on the stage because - as she says - "I was born there: I was only eight days old when I made my debut in my mother's arms [she played the new-born son of Geneviève of Brabant] ... I didn't say much that evening! "

Some years later, in the 1950-51 theatre season, Franca - following the lead of her sister Pia - left the family and joined the company of Tino Scotti for a part in Marcello Marchesi's "Ghe pensi mi" at the Teatro Olimpia in Milan.

Dario Fo
Dario Fo was born on 26 March 1926 in San Giano, a small town on Lago Maggiore in the province of Varese. His family consisted of: his father Felice, socialist, station master and actor in an amateur theatre company; his mother Pina Rota, a woman of great imagination and talent (in the 1970s her autobiographical account "Il paese delle rane", telling the history of her home town, was published by Einaudi); his brother Fulvio and his sister Bianca; and his maternal grandfather, who had a farm in Lomellina, where young Dario spent his childhood vacations.

During Dario's visits, his grandfather would travel around the countryside selling his produce from a big, horse-drawn wagon. To attract customers he would tell the most amazing stories, and in these stories he would insert news and anecdotes about local events. His satirical and timely chronicles earned him the nickname Bristin (pepper seed). It was from his grandfather, sitting beside him on the big wagon, that Dario began to learn the rudiments of narrative rhythm.

Dario spent his childhood moving from one town to another, as his father's postings were changed at the whim of the railway authorities. But even though the geography remained in a flux, the cultural setting was always the same. As the boy grew, he became schooled in the local narrative tradition. With growing passion, he would sit in the taverns or the piazze and listen tirelessly to the master glass-blowers and fishermen, who - in the oral tradition of the fabulatore - would swap tall tales, steeped in pungent political satire.

In 1940 he moved to Milan (commuting from Luino) to study at the Brera Art Academy. After the war, he begins to study architecture at the Polytechnic, but interrupts his studies with only a few exams left to complete his degree.

Towards the end of the war, Dario is conscripted into the army of the Salo republic. He manages to escape, and spends the last months of the war hidden in an attic store room. His parents are active in the resistance, his father organizing the smuggling of Jewish scientists and escaped British prisoners of war into Switzerland by train; his mother caring for wounded partisans.

At the end of the war, Dario returns to his studies at the Academy of Brera in Milan while attending courses in architecture at the Polytechnic, commuting each day from his home on Lago Maggiore.

1945-41 he turns his attention to stage design and theatre décor. He begins to improvise monologues.

He moves with his family to Milan. Mamma Fo, in order to help her husband put the three children through college, does her best as a shirt-maker.

For the younger Fos, this is a period of ravenous reading. Gramsci and Marx are devoured along with American novelists and the first translations of Brecht, Mayakovsky and Lorca.

In the immediate postwar years, Italian theatre undergoes a veritable revolution, pushed along mainly by the new phenomenon of piccoli teatri ["small theatres"] that play a key role in developing the idea of a "popular stage".

Fo is captured by this effervescent movement and proves to be an insatiable theatregoer - even though he usually can't afford to buy a seat and has to stand through the performances. Mamma Fo keeps an open mind and an open house for her children's new acquaintances, among them Emilio Tadini, Alik Cavalieri, Piccoli, Vittorini, Morlotti, Treccani, Crepax, some of them already famous.

During his architecture studies, while working as decorator and assistant architect, Dario begins to entertain his friends with tales as tall as those he heard in the lakeside taverns of his childhood.

In the summer of 1950, Dario seeks out Franco Parenti who is enthralled by the young man's comical rendering of the parable of Cain and Abel, a satire in which Cain, poer nano ["poor little thing"], a miserable fool, is anything but evil. It's just that every time he tries, poer nano,to mimic the splendid, blond and blue-eyed Abel, he gets into trouble. After suffering one disaster after another, he finally goes crazy and kills the splendid Abel. Franco Parenti enthusiastically invites Fo to join his theatre company.

Dario starts performing in Parenti's summer variety show. This is when he has his first "encounter" with Franca Rame - not in person, mind, but in the form of a photograph he sees at the home of some friends. He is thunderstruck! For a while he continues to work as assistant architect. But he soon decides to abandon his work and studies, disgusted by the corruption already rampant in the building sector.