Accidental death of an anarchist Study notes 1. Context. Briefly, describe the socio-cultural context of this story. How important is the influence of context on the story? How important is an understanding of the context of composition for a reader’s full understanding and enjoyment of the story? Plazza Fontana Bombing In December 1969, 13 people were killed 100 injured by a bomb placed in the ‘Banca Dell Agricultura’ in Milan. Three further attacks took place in 2 other places in Rome within an hour, injuring another 14 people. Another bomb was found in another bank later. It was safely detonated in the courtyard of the ‘Banca Commerciale Italliana.’ Over 4,000 arrests had been made after the Plazza Fontana bombing. One suspect, Guiseppe Pinnelli, fell out of a window and died in police custody after being held for longer than the law allowed. He was a railroad worker and anarchist, member of the group Ponte Della Ghisolfa. The government and fascists then employed the ‘strategy of tension,’ a policy wherein violent struggle is encouraged rather than suppressed. The purpose is to create a general feeling of insecurity in the population and make people seek security in a strong government. Dario Fo An influential figure in theatre in and out of Italy. Began composing plays in the 50s, from which his style gradually changed. His plays were initially farcical with a satirical bite, employing popular elements such as slapstick. Then, they began to resemble more typical dramas, being less episodic and less strictly comical in effect. Finally, he became absorbed in Italian police, and began gearing his plays towards working-class audiences instead of more typical theatregoers. Accidental death of an anarchist was first produced in Milan in December of 1970, and later staged on Broadway in 1984. Fo also a reputation as an actor, and he has played the Maniac in his production of the play. He has also been arrested and put on trial various times for subversion. 2. Character. Who is the protagonist of this story? Who are the other important characters? Pick one, and explain how they are characterised (actions, dialogue, appearance, interactions, thoughts and ideas). (p.167 of textbook) You might also consider flat vs. round / static vs. dynamic characters / major vs. minor etc... (video review) Character The Maniac Notes -Uniquely, has no counterpart among the real participants of the events. -Both a product of Fo’s imagination and a figure with deep roots in Italian tradition of theatre of Commedia Dell’arte. Features of this style include wearing masks to denote the characters, improvisation, and stock characters. -The Maniac is considered to be based around the Arlecchino, or Harlequin. It Bertozzo The Inspector (Pissani) Superintend ent is notable for displaying enormous physical and moral versatility in its drive for self-preservation. Like the Maniac, it is cunning, scheming, disrespectful towards authority, quick-witted, invented. -Like the Harlequin, he also wears several masks: of the academic psychiatrist, magistrate, bishop and member of the forensic squad -Fo likened the Harlequin to an anarchic character, “who has no sympathy with current moral rules, the rules of authority...” This provided a model for the subversive, derisive, mocking character who appears in several play known as the maniac. -Exists in a dimension of his own, owing loyalty to none. -Disconcerts the police by the nimble ways he changes side. For example, reduced the officers to a state of panic, only to raise their spirits by proposing the ridiculous ruse of changing the story to show they had showed humanity to the suspect by singing and playing with him -In the play, he is not completely mad as he has a cause: the Pinelli case -Fo stated: ‘The fool plays the part of the judge, carrying the logic of the authorities to absurd extremes, and discovering that there are inconsistencies.’ -The part played by Fo himself, where he employed his own talents to make possible the endless changes of identity required by his own conception of the Maniac -It is difficult to associate him with any specific offer due to the riotous humour involved with his character -First seen as the ‘straight man,’ he is given deadpan, humourless lines, which the Maniac uses to display his own wit -he is reduced to the butt of the humour, purely there as the object of satire and ridicule -Revealed as the ‘bomb expert’ responsible for the suspicious act of destroying the unexploded bomb without subjecting it to forensic -Arguably the reason the play was written -Clues in the play hint that he is very closely based on Lugi Calabresi, though some have been lost in translation -Originally, he is described as ‘wearing a sports jacket and a polo-necked shirt,’ which references the casual wear which Calabresi wore unlike the rest of officers -Calabresi became a hate-figure for the left following the events of December 1969. He had declared that the events were undoubtedly the action of the extreme left, and had invited Pinelli ‘for a chat’ from which he never came back. -Later on, however, Fo would gain sympathy for him, viewing him as another pawn in a vicious campaign rather than a main player -Also based closely on a police officer, Marcello Guida, the head of the police in milan -Explicit references include: being an older man, being a government official under Mussolini’s Fascist regime, etc... -Guida took a full part in covering up after the death if Pinelli, initially denying there were any records of the interrogation and changing the story -Pinelli’s widow later raised an unsuccessful action against him Constables -There were four constables in the office at the time of Pinelli’s death, but no direct links can be established between any of them and the constables Fo depicts -The two in the play are smiling, largely benign, foolish bystanders, never fully comprehending what is going on around them -Inconpetent rather than in line with their genuinely sinister superiors Maria Feletti -Inspired by the campaigning writer and reporter Camila Caderna, who in a series of trenchant articles and books insistently investigated the circumstances leading to Pinelli’s death -While all others contribute to the comedy, the journalist has a completely straight part -Contributes to the politicss of the play, creating the mood in which the questioning can be carried forward 3. Genre: Defining characteristics? How does the work conform to or deviate from the conventions of the genre? Political Farce -Slapstick humour/bawdy humour -The Maniac based on the Harlequin -Includes various real-world references -Ridicules policemen 4. Plot. What is the inciting incident in this story? What is the complication? Central conflict? What type of conflict? (p.173-174 of textbook). Is there a resolution? (video review) Act 1, Scene 1 Opens in an office room in a police station, where Inspector Bertozzo is interviewing the Maniac, reviewing his arrest record. He notes that he has been arrested many times for impersonation, the same reason for his current arrest. The Maniac points out that although he has been arrested, he has never been convicted. He tells the inspector he is insane, and therefore cannot be charged. The inspector, incredulous, continues posing questions whilst the Maniac evades them and denies any real wrongdoing. For examples, in response to accusation that he has not only been impersonating a psychiatrist but also actually seeing patients and charging substantial sums, the Maniac points out that all psychiatrists charge too much. The inspector replies that the real issue is the impersonation, pointing to a visiting card the Maniac has been distributing which states he is a psychiatrist. The Maniac quibbles over a point of punctuation, arguing the placement of a particular comma clears him of any accusation of misrepresenting himself. Frustrated, Bertozzo dismisses the Maniac. The Manaic leaves, as does the inspector who is late to a meeting. Maniac then pokes his head back into the room and, seeing it is empty, enters and begins rifling through papers he sees on the desk. They are arrest sheets. He begins to destroy whichever ones he feels are unjustified, leaving those he believes truly are heinous crimes. He then moves to the inspector’s file cabinets, and is about to set fire to the whole lot of them when he notices a dossier he begins to read out loud as “Judge’s report on the death of the…”; Judge’s decision to adjourn the inquest of…” It deals with the death of a suspected anarchist whom most believe was innocent of the crimes for which he was being interrogated when he fell to his death from a police headquarters window. The phone rings and the Maniac answers. It is another police inspector. The Maniac’s words make it clear that this second inspector wishes to speak to Bertozzo because he has heard that a judge is coming to the station to ask questions regarding the anarchist’s death. The Maniac pretends that Bertozzo is in the room and making rude comments about the fourth-floor inspector, telling him Bertozzo is saying he might as well accept that his career is over. From the Maniac’s side of the conversation, it becomes clear that the inspector is becoming incensed, highly insulted by what he believes is Inspector Bertozzo’s rude and flippant reaction to his concerns. When the Maniac hangs up, it occurs to him that he might impersonate the expected judge and begins to practice characterization of said judge. At this point, Bertozzo re-enters the room and tells the Maniac to get out of the station. The Maniac then advises him ‘to duck.’ Sure enough, the fourth-floor inspector arrives, and the audience sees an arm stretch out to punch Bertozzo in the face. Act 1, Scene 2 The Maniac, A constable, and the fourth-floor inspector, who is referred to as Pissani (or Sports Jacket), are in a room. The Maniac’s behaviour is greatly unpredictable. At one moment he questions the inspector and the Constable severely, as if knowing they are somehow responsible. This makes them very nervous/ At other moments, he appears to be on their side, suggesting that while they might not have told the entire truth they are right to present themselves as innocent. Although they are somewhat befuddled, the two police officers trust in the judge’s good intentions. Then, the Superintendent arrives in the room, angry, after being called in by Pissani’s Constable. He calms down once he understands that the Maniac is a ‘judge.’ The Maniac begins questioning him as well, analysing the claim the anarchist fell from a window because he had been seized by a raptus (a state of suicidal anxiety pursuant to extreme desperation). Pissani and the Superintendent begin explaining the events that took place before said raptus, claiming that they were in line with interrogation and methods which were not at all unreasonable. As the Maniac’s questioning continues, they begin to contradict themselves on many details such as the precise time of the anarchist’s raptus. The Maniac is finally able to force what amounts to a confession from the Superintendent, who recklessly admits to having pushed the anarchist off the window whilst yelling at the Constable and Pissani due to a disagreement. The act ends with the policemen completely perplexed, singing an anarchist song in concert with the Maniac. Act 2, Scene 1 The Maniac then questions the policemen about the anarchist’s fall from the window, pointing out absurd details which once again highlight discrepancies in the policemen’s claims. The Maniac is able to get them to change their stories and contradicting themselves in even more absurd ways. Throughout, real facts and statements from the historical inquest and actual newspaper interviews are used. A journalist, Maria Feletti, then arrives at the station to interview the Superintendent about the anarchist’s death. The policemen want to send her away, but the Maniac encourages them to allow her in. The men tell the Maniac he must leave, as his presence would only give her confidence know that a judge is questioning them too. He persuades them to let him stay, saying he will impersonate a forensics expert instead, and help them manage Feletti’s questions. The journalist’s questions, like those of the Maniac, are peppered with facts and reports from the actual historical inquest and real interview with the Milan officials involved in the case. She focuses on discrepancies in the policemen’s stories. First, she asks about the nature of the anarchist’s fall. There were no broken bones in the body, she says. One expects broken arms and hands in person who has fallen from a window because the person would try to break his or her fall. The lack of broken bones suggests that the anarchist was already dead long before. The Maniac agrees, to the consternation of the assembled policemen. The Journalist then asks the policemen about the mark that was discovered on the anarchist’s neck. It was not consistent with the fall. Is this evidence of a blow to the back of his neck that killed him? She believes so, as an ambulance had been called prior to the fall. At this point, the Maniac begins speaking of the flimsiness of the anarchist’s alibi, as if to aid the policemen, yet his intention is instead to discourse on the plight of the working class. According to the Manaic, the anarchist’s friends, who vouched for his presence at the time of the bombing, could not possibly remember accurately because they are old, used up from too much work, even malnourished and senile. Bertozzo then enters the room. He has with him a copy of the bomb that was set off in the bank in question. When Bertozzo catches sight of the Maniac, he is about to blurt out that he is not who he says he is, but the Superintendent and Pissani prevent him from speaking. They believe he is going to say that the Maniac is a judge which would be disastrous. In fact, all Bertozzo knows is that the Maniac cannot be the forensics expert because he personally knows him. The Journalist begins questioning the bomb. Why was the second bomb found at the site of the bombing destroyed? Why was it not saved as evidence? If it had been saved, they would have a ‘signature’ of the bombers, suggesting this is a cover up on the part of the police. She describes the anarchist and his group as a ragtag band of dreamers incapable of planning any such event and certainly not equipped to make such sophisticated bombs. Bertozzo, to the dismay of the Superintendent, agrees. He states the bomb was most likely made by paramilitary professionals, leading the journalist to present the common theory that the bombing was organised by fascists with police support in order to discredit left-wing organisations and frighten the population. The idea is that a frightened populace submits to strong controlling leadership, willingly giving up freedoms in return for perceived safety. As before, the Maniac pretends to be helping the policemen but instead leads them to contradict themselves. The play ends on a tone that is both comical and serious. Comically, the Manic runs through a number of impersonations, but he also speaks of scandal. He states it is not necessarily about bringing justice, and that is does not inevitably end the careers of those involved in it. Rather, he says it provides brief outlet for public anger and then dissipates quickly so that the status quo is re-established. The play ends with the Maniac’s announcement that he has recorded everything that has transpired and will send copies of his recording to all media outlets and authorities. 5. Theme. What is the text about? What ‘truth’ does the book reveal? Are there any hints in the title, symbols or motifs within the text? (p.174-175 of textbook). (video review) Reform vs Revolution (State) Repression and Violence Authority and Subversion Labour, Identity, and Humanity Theatre and Truth/Political Consciousness Madness and Chaos 6. Setting. This involves time, place, weather and much more! It is also the social and emotional backdrop of the story. Would you consider this a mirror, mould, escape or alienation setting? (Or a combination?) Explain. (p.168-169 of textbook). Also, how symbolic are the settings? (video review) -Takes place in a police station office -Bertozzo’s room is described as ‘drab and bureaucratic’ -Window is reffered to at various times throughout the play (allusion) 7. Symbolism. What are the significant symbols in this book? How do the contribute to understanding of the book’s themes? Do you see a pattern in these symbols? (video review) The Bomb -Fo Creates dramatic tension and comic relief by leaving it unclear whether the bomb is real -Clue to the bombing’s real perpetrator- someone in the Italian military, or even Bertozzo himself? -In the final scene, the Maniac puts a detonator in the ‘replica,’ turning it into a real weapon and revealing that the police were in fact fabricating real bombs, confirming the common theory that they were involved in the bombings -Uses fiction to criticize the police's very real negligence, abuses of power, and complicity in fascist terror The police files -Rigid (forces people into strict procedures) yet fragile (when a file does not tell the truth, or simply does not exist) -The reenacting of the interrogation with Pissani, the superintendent and the maniac is just paperwork The costumes -Represent the political power of the Maniac, and that of acting and the theatre 8. Narration/POV -Soliloquy -Dialogues -One-sided phone conversation -4th wall breaks 9. Language, style, and literary devices: What makes your work literary? How does the writer establish an imagined world through things such stage directions, figurative language, imagery and symbolism, lexical choice/diction, sound/music, movement etc.? Alienation effect Humour: Sarcastic, witty, bawdy, slapstick, pun, deadpan, shadenfreude, absurd Clown/Jester/Harlequin Music Status Soliloquy Didascalia Dramatic irony
