ABSTRACT This article addresses L’operaio conosce 300 parole, il padrone 1000, per questo lui è il padrone (1969), one of the first plays produced by the couple Dario Fo and Franca Rame after their rupture with the mainstream bourgeois theatrical circuit. Through a close reading of one section of the play – the monologue ‘Michele lu Lanzone’ – we trace the beginnings of a process of re-negotiation of Rame’s role within their professional relationship. We argue that the monologue both represents and plays out a series of tensions around ideological, artistic and gender issues, thus ‘othering’ the female protagonist from the rest of the piece and its didactic message. We also show how the complex intersections of discourses and agendas that constitute the tension within L’operaio are in fact the ongoing context in which Rame will ‘find her own voice’, gaining independence without ever abandoning the partnership.

中文翻译：

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她自己的舞台？“米歇尔·卢兰佐恩”（Michele Lu Lanzone）作为弗兰卡·拉姆（Franca Rame）解放的蓝图

摘要本文探讨了歌剧院的300口假面舞曲，il padrone il 1000，根据questo luièil padrone（1969）拍摄，这是夫妇Dario Fo和Franca Rame在主流资产阶级戏剧院破裂后所创作的第一批戏剧之一。通过仔细阅读该剧的一个部分-独白“ Michele lu Lanzone”，我们追踪了Rame在其职业关系中角色重新谈判过程的开始。我们认为，独白代表着意识形态，艺术和性别问题，并表现出一系列的紧张关系，从而使女性主角与文章的其余部分及其教学信息“相互影响”。