•
Rating: "For example, as you know, I had a very strict Catholic education: twenty years of parish and Boy Scouts. During that entire period, no priest ever molested me... I feel insulted!"
Decameron, "The Questions," second episode
This is Daniele Fabbri (and only in art, Luttazzi)
Daniele is not (and has never been) at all "stupid" or superficial, contrary to how 90% of the Italian media portrays and has portrayed him since his beginnings. On the contrary, from the early years of his adolescence, he has shown his artistic flair (for example, producing comic short films that received a decent following), which has driven him to compose an album, released in 2005 (Money For Dope, whose title track is the closing theme of the same "Decameron"), thus becoming what he now is for that part of Italians who have understood his style, contents, and above all, the contexts: a purebred Satyr.
Daniele was born in Santarcangelo di Romagna on January 26, 1961, quickly graduated in Cesena, and like a flood, enrolled in the Faculty of Medicine in Modena, writing an experimental thesis on the autoimmune etiopathogenesis of atrophic gastritis, submitting it without discussion and thus refusing the degree in protest against university baronies: no kidding.
From that moment on, the decision. The entertainment world.
And from here begins the legend: from Radiodue to Renzo Arbore, from a marginal comedian in "Mai Dire Gol" to psycho-ringmaster in "Barracuda" (already censored in the late '90s for an awkward comment by C. Martelli on Berlusconi); then in Rai, "Satyricon," Marco Travaglio, and stop.
Bulgarian case.
Six years of professional darkness, lawsuits "in which" (and not from which) to defend himself, defamations suffered, total isolation by the entertainment world and "supposed friends," complaints, lawsuits, lawyers. A hell.
But the old Daniele Fabbri, in art Luttazzi, does not give up even for a joke, takes pen and paper and continues to do what he has always done best: continues to write texts, books, screenplays for sketches, waiting for the opportune moment that, after such a long time, will have a devastating impact. That impact is called "Decameron: politics, sex, religion, and death" (2007), and remains, still today in my opinion, the greatest satirical attempt ever made on an Italian television network.
Produced by La7 (Telecom) and directed by Franza Di Rosa, the program consisted of 6 episodes (the last of which never aired), and was a tear in the mafia-media continuity to which we sadly have been accustomed for almost a decade, shocking the world of entertainment, politics, and "good customs." For the first time on Italian television, in fact, one person alone tarnished, with Brechtian style and ease, the entire entertainment world with foils and "gags," devastating the entire political class that had so much pleaded and distanced him in previous years, to fight it with only the power of the (non-licking) Tongue, demonstrating the media-dictatorial state of our beloved beautiful country, which until then was dormant and narcotized by reality shows.
Inspired mostly by Lenny Bruce and Pier Paolo Pasolini, Fabbri managed to capture the gaze and hearing of many among those people tired of nauseating "mimunian" news, sexual-electoral propaganda, and "good" salons; a situation demonstrated with facts, by a very high share for a program proposed in the late evening. Inventing improbable sitcom snippets like "A Babbo Morto," where Daniele embalms his dead father on the couch, or like "Dialoghi Platonici," improvising an unthinkable conspiracy regarding Socrates' trial with Phaedrus, Gorgias, and Plato intent on resorting to the "ad personam" laws of the knight to save their supreme master, Daniele will dominate with a healthy yet unregulated irony five of the most unforgettable Saturday evenings of Italian television (though in late night). And gentlemen, this is not something everyone can do. Despite those who continue to repeat that he "would never have been funny."
"— Darling, what are we doing tonight?"
— "I don't know... I don't feel like laughing... let's go to Luttazzi!"
Ultimately, Decameron was nothing but the aberrant and ingenious demonstration of what television has managed to become in ten years of Masonic anarchy: a nauseating monster of mixed advertisements with porno-starlets, pre-set news, artificial commentators, Vespian deformities, easily unsolvable crimes, and above all, jovial destruction of the deceased Information.
The fact that the sixth and final episode never got to air (coincidentally entirely focused on the all-Italian Vatican issue) is in my opinion the real reason why Fabbri was once again erased from the face of the small screen (nothing to do with Giuliano Ferrara...).
In conclusion, a heartfelt thank you to Daniele Luttazzi and to everything he has done for me and many others over the years, demonstrating that we must never surrender, not even in front of blind Power, which we must laugh at and necessarily ridicule, in search of the most precious diamond: the Truth.
Thank you very much.
"I perform my monologues in theater, because no one from television reaches out, even though I've said several times that I have ideas and projects for TV shows. There is a kind of "conventio ad excludendum" for which I am not even mentioned anymore in newspapers when talking about the 'Bulgarian edict!' Satire is either irreverent, or it is not. If they want something sugar-coated, it's obvious they don't want satire. And indeed it is no coincidence that explicit satire on television no longer exists, there is that allusive kind that does not mention names and surnames, or responsibilities. Vauro's comic strip is of this kind: it's obvious that the earthquake is not the government's fault. However, it is the government's fault for proposing, not even a week before, the housing plan that included among other things the dissolution of a whole series of constraints and regulations even in seismic areas. Now they don't talk about it anymore, but Vauro's cartoon alluded to this type of situation, pointed to a specific responsibility. It’s a government of incapables, just look at how they treat foreign newspaper correspondents who speak - badly - of us. Stuff from South American dictatorships. In Santoro's program the voices have their own space of freedom which becomes unbearable because there's a scorched earth around. In their civic conscience, Italians do not perceive that the moment a journalist and a satirical journalist like Vauro are silenced, everyone is silenced. They have lost awareness of their rights as citizens. They've done it: after twenty years, Italians no longer know that they are born with rights."
Daniele Luttazzi - interview for Mamma!)
Loading comments slowly
