ABSTRACT
As part of a well-known interview, published in the Teatro dell’Occhio, 1984, and elsewhere, Dario Fo said: ‘For the first time we attributed great value to objects, masks and mannequins. From then on we employed a large amount of puppets. From Grande pantomima con pupazzi of 1968, Morte e resurrezione di un pupazzo, Il Fanfani rapito, puppets were always present on stage, at times enormous, despotic. It was almost a revolution for a certain type of theatre’. 1 What was this revolution and where did it come from?
