Abstract
This article traces the origins of madness in Dario Fo and Franca Rame's theatre both as a theatrical device and as a genuine illness. It identifies the main traits and differences of madmen and madwomen and where these originate in the Italian socio-political climate from the Sixties to the Nineties. Finally, it outlines(?) the importance of gender in relation to madness and its uses in the Fos' theatre.
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