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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

    from AFROWOMEN POETRY – Three Poets from Tanzania: Langa Sarakikya, Gladness Mayenga, Miriam Lucas

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Water: The Longest Tunnel Where the Color Blue Is Born — Four Poems by SHANKAR LAHIRI

    Message to Forough Farrokhzad and other poems – Samira Albouzedi

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    A Very Different Story (Part II)- Nandini Sahu

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    The Aunt: An Exhilarating Story by Francesca Gargallo

    THE PROGENITOR – Zakir Talukder (trans. from Bengali by Masrufa Ayesha Nusrat)

    Stalks of Lotus – Indrani Datta

    Love in Africa and the Variety of its Declinations:  Short-story Tasting from Disco Matanga by Alex Nderitu

    Love in Africa and the Variety of its Declinations: Short-story Tasting from Disco Matanga by Alex Nderitu

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    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    The Red Bananas – N. Annadurai

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    THE CULPRIT – Gourahari Das

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    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE TIME HAS COME – Gaius Tsaamo

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” –  Massimo Ceresa

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” – Massimo Ceresa

    Plowing the publishing world  – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

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    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

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    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

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    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    The Shipwreck Saga – Lynne Knight

    Phoenix: Part I – YIN Xiaoyuan

    Surrender to Our Explosive Democracy – Five Poems by Serena Piccoli from “gulp/gasp” (Moria Poetry 2022)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Me and French, or What I Did During the Pandemic (Moi et le français, ou Ce que j’ai fais pendant la pandémie) – Carolyn Miller

    Becoming-animal as a Mirror – Ten Animals from Gabriele Galloni’s Bestiary

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    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

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    REFUGEE TALES July 3-5: Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

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  • Poetry
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

    from AFROWOMEN POETRY – Three Poets from Tanzania: Langa Sarakikya, Gladness Mayenga, Miriam Lucas

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    What Was Heart Is Now A Scorched Branch – Three Poems by Elina Sventsytska

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Water: The Longest Tunnel Where the Color Blue Is Born — Four Poems by SHANKAR LAHIRI

    Message to Forough Farrokhzad and other poems – Samira Albouzedi

  • Fiction
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    BOW / BHUK – Parimal Bhattacharya

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    A Very Different Story (Part II)- Nandini Sahu

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    The Aunt: An Exhilarating Story by Francesca Gargallo

    THE PROGENITOR – Zakir Talukder (trans. from Bengali by Masrufa Ayesha Nusrat)

    Stalks of Lotus – Indrani Datta

    Love in Africa and the Variety of its Declinations:  Short-story Tasting from Disco Matanga by Alex Nderitu

    Love in Africa and the Variety of its Declinations: Short-story Tasting from Disco Matanga by Alex Nderitu

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    The Red Bananas – N. Annadurai

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    THE CULPRIT – Gourahari Das

  • Non Fiction
    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE TIME HAS COME – Gaius Tsaamo

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” –  Massimo Ceresa

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” – Massimo Ceresa

    Plowing the publishing world  – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Plowing the publishing world – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

  • Interviews & reviews
    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    From Euromaidan: Three Ukrainian poets to spoil Westsplaining fest in Italy – Zarina Zabrisky

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE MATERICIST MANIFESTO by AVANGUARDIE VERDI

    Artwork by Mubeen Kishany – Contamination and Distancing

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    The Shipwreck Saga – Lynne Knight

    Phoenix: Part I – YIN Xiaoyuan

    Surrender to Our Explosive Democracy – Five Poems by Serena Piccoli from “gulp/gasp” (Moria Poetry 2022)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Me and French, or What I Did During the Pandemic (Moi et le français, ou Ce que j’ai fais pendant la pandémie) – Carolyn Miller

    Becoming-animal as a Mirror – Ten Animals from Gabriele Galloni’s Bestiary

  • News
    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    REFUGEE TALES July 3-5: Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

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COMEDY AND CHILDHOOD. A conversation between Dario Fo and Walter Valeri

English Translation by Marco Remo Zanelli; Excerpted from the forthcoming book FARFALLE CHE PUNGONO (Il Ponte Vecchio Publishing). Cover art by Sumana Mitra.

November 25, 2020
in Non Fiction, The dreaming machine n 7
Days in Kolkata: a Photo Gallery by Sumana Mitra
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There certainly exist vast studies and scientific research that shed light on the laughter of a child. Even writers and filmmakers have elicited the smiles of an adolescent with the goal of having a consolatory effect upon him or her. Ever too often, though, it has been about the stereotypical loss of innocence – a projection of the adult world. However someone like Dario Fo, who has encountered that laughter from the stage on a daily basis, is able to offer a never before seen – and not banal – vision of it. Vincenti, a comic from the early 20th century, who stood out for his fiery satire against Nazism, said something I find interesting regarding the relationship between comedy, irony, the dynamics of the grotesque and children.  He intelligently differentiated those moments when a child’s laughter was liberating from those consisting of a type of sadomasochistic game that, even when finished, is hypocritical of laughter itself. We know that the boys and girls often laugh to indulge, they laugh to please, they laugh to be likeable or out fear for certain individuals. For them laughing becomes a tool of endearment, a way to be accepted with goodwill. We well know that often teachers awkwardly try to be funny and many times they are a complete disaster when it comes to humor, but to indulge them the child-hypocrite will let out tremendous laughter, thereby allowing the teacher to say how funny he or she was that day. The teacher simply created a situation of conflict, of expectation, acting from a position of power, which children naturally appease by subjugating themselves.

 

 

The child obviously learns these games from adults, from their reality.

 

Of course. Children immediately learn their worst behaviors from adults, because they see it as being the only way to find equilibrium, a way to continue drawing on the sources of survival in order to remain present in the world. These behaviors are dictated by their families, teachers, those they see on the street, TV shows, and from advertising directly targeting them. Above all, children are fully aware that it is all a matter of power, which must be resolved in their favor. Yet, they have no true power of their own to be able to fight back. The love and attraction children have for mammoth sized trains; toys of war; life-like robots that first break into thousands of pieces and then self-repair are determined by the fact that once the initial dread is overcome, love can spring from that very same source of fear, obsession, and from the nightmares that these monster toys create in their dreams. When we talk of a child’s laughter, we must always start at the power-action dynamic from which it derives as well as from conscience, knowledge, gloom, prohibition and repression.

 

What distinguishes a child’s laughter from that of an adult’s?

 

The key to children’s laughter in largely tied to the repression an adult exerts on them. Let’s be clear in saying that this repression is not always negative. To better comprehend this, we need to study clowning. That’s where we always need to begin. We must return to the origins of comedy to be able to understand and interpret it. Clowns entrust themselves to primordial mechanisms. Children always laugh when someone falls down. It is certain this laughter is tied to the angst of having to always walk upright, or rather, with a precarious equilibrium that accompanies them throughout their lives. From a theatrical standpoint, however, the child lets out a laughter of relief which is more significant when he who falls is playing a character who holds himself in high esteem, dressed in the garbs of a king or emperor, and takes a great tumble when exiting the stage – all this after the character has already intimidated and frightened the child. At that point, the child erupts in applause, guffaws, and is filled with immense joy. This is one of the classic comic gags used by the authoritarian character of the circus master of ceremonies (in its multitude of variations). During the entire show the master of ceremonies scolds August, the humble and somewhat oafish clown to which the child likens himself. The child sees himself in that character who is disparaged by the sequin dressed ballerina walking the tightrope, the elephant tamer and the watchman overseeing the lions. They show him no mercy: they make him carry buckets, they insult him, they tell him not to pick his nose, not to raise his voice, not to laugh this way nor that, not to waste time with the butterflies because they sting, not to eat cake, not steal sugar, and to refrain from bothering the elephants. They create an environment of sufferance and constraint, which, however, is turned upside down at a certain point. The tight rope walker slips on the animal droppings, the master of ceremonies falls by tripping over his whip, the bucket ends up being full of firecrackers, the elephants lose their wits over a piece of candy, etc. When this happens, the child inevitably lets out an unbridled laughter. It’s sufficient enough execute the gags with a minimum of comic timing and theatre know-how and laughter is inevitable.

 

Of course, the most uproarious laughter is heard at the circus and at children’s theatre.

 

A person of power who falls, who trips, or a situation of power which is substituted by some variation that is close to the spectator, to his emotional state, are prerequisites for comedy that has an effect on a child. “You face has jam all over it. Your hands are dirty from eating. Didn’t you wash up? Haven’t you washed your hands?” are all elements that finally evoke a trigger. So, we see the king with a dirtied face, the master of ceremonies with a dirtied face, the circus owner with a dirtied face–that says it all. Then there are the relationships with the child’s father, mother, teacher, grandparents, and the rest of us. Hence, the mechanical gag of falling, that we spoke of earlier, isn’t purely and solely mechanical, but also allegorical.

 

Can we say that it is possible to establish rules to make a child laugh?

 

There aren’t rules. We can’t establish any because they hinge on a game of playing the opposites. Ideally, when a comic actor gets to a square, to a school, or a to venue where he’ll perform, he should ideally inquire a bit and ask what has recently made the kids cry or what has moved them. Or else, what great fears they have of things currently threatening their community. At that point, one would have the exact elements necessary for a comic performance. One has to be aware that the “game” of searching for that which makes one laugh is accompanied by the use of irony needed to establish a parody of the banality of dogmas, rules and regulations, and of habits and norms–for example, the sanctity of a king’s power (of hierarchies)  and all its modern day equivalents. There are thousands of more intelligent ways to tell a story by tying it to current events, things that happen at home, in a child’s personal life, or on the street, rather than formal approaches to narration or those which have been traditionally established. Bad educators don’t often notice the comic blunders they make while teaching. If they took advantage of good communication with children, they would escape the state of tedium and heaviness into which they are continually propelled. They would gain authority and credibility. Even the gossip that normally circulates in a classroom can be molded into a new and healthy shape, by getting rid of the inevitable gloom and doom that accompanies it and by taking advantage of comic tools that are always readily available–tools that will appear evident in a light of laughter.

 

Walter Valeri

Excerpted from the forthcoming book

FARFALLE CHE PUNGONO

Il Ponte Vecchio Publishing

Tags: adultschildhoodclowningcomiccomic gagsDario FolaughterphysicalityplayingpowerrepressionsituationWalter Valeri

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