Charter ( El bufó part II)

During a break in the company in which Dario Fo was focusing specifically on his work as a playwright, I was able to take advantage of the time to present at a contemporary music festival in northern Italy, a piece entitled CHARTER, which surprisingly ended up being one of my interpretative milestones of the early years.

Something very special must have been released with that piece, since during eighteen years (from 1972 to 1988) I had to perform it all over Europe and part of the American continent. Curiously, and given that it had to be presented as a vocal musical work, I was not able to obey the canons of reading a theatrical work.

The story narrated the journey of a very naïve character who ventured on a plane to London to visit the national museum.

Although the onomatopoeias and short phrases of the text were in Italian, the precision and high school of the gestures and the fabulations left the audience literally fascinated. Several times I met spectators who told me how their lives had changed after seeing that work.

Needless to say how healthy and enriching this breath of fresh air was for me after the years of the French school of the art of movement, working hand in hand with the highest live representative of the Commedia dell’Arte tradition, that is to say the Italian school of comedy. In my restless spirit, these two poles offered me the desired balance to continue the itinerary of theatrical research with a solid base to assume the consuet risks of daring experimentation.