"Comedy makes the subversion of the existing state of affairs possible"
About this Quote
Subversion doesn’t start with a manifesto; it starts with a laugh that rearranges the room. Dario Fo’s line treats comedy as a practical technology: a way to smuggle dissent past the bouncers of common sense. “Possible” is the key word. He’s not romanticizing jokes as revolution; he’s describing how humor loosens the social bolts that keep power looking natural, inevitable, even boring.
Fo came up through postwar Italy, with its Catholic moral authority, entrenched class hierarchies, and a political system that could absorb scandal and keep standing. His theater, steeped in commedia dell’arte and the rowdy logic of the medieval jester, made institutions legible by making them ridiculous. Laughter becomes a mass rehearsal for disbelief. If the audience can see a priest, a cop, a boss, a politician as a character in a farce, they can imagine that figure as fallible, replaceable, human-scaled. Comedy shrinks the powerful without needing permission to “debate” them on their terms.
The subtext is about access. Tragedy often demands cultural credentials; satire and farce travel faster, especially among people shut out of official discourse. Fo’s stage was designed to bypass gatekeepers - not by simplifying politics, but by changing its emotional temperature. Comedy turns fear into appetite, cynicism into recognition, and private gripes into public knowledge. In that split second when the crowd laughs together, the existing state of affairs stops being the horizon and starts being a set.
Fo came up through postwar Italy, with its Catholic moral authority, entrenched class hierarchies, and a political system that could absorb scandal and keep standing. His theater, steeped in commedia dell’arte and the rowdy logic of the medieval jester, made institutions legible by making them ridiculous. Laughter becomes a mass rehearsal for disbelief. If the audience can see a priest, a cop, a boss, a politician as a character in a farce, they can imagine that figure as fallible, replaceable, human-scaled. Comedy shrinks the powerful without needing permission to “debate” them on their terms.
The subtext is about access. Tragedy often demands cultural credentials; satire and farce travel faster, especially among people shut out of official discourse. Fo’s stage was designed to bypass gatekeepers - not by simplifying politics, but by changing its emotional temperature. Comedy turns fear into appetite, cynicism into recognition, and private gripes into public knowledge. In that split second when the crowd laughs together, the existing state of affairs stops being the horizon and starts being a set.
Quote Details
| Topic | Art |
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