Addressing themes such as AIDS, the Gulf War and genetic experiments, Fo wrote Zitti!
Stiamo precipitando! (
Hush!
We're Falling!)
in summer 1990, and it debuted at Milan's Teatro Nuovo that November.
The titular character of Johan Padan and the Discovery of the Americas, Fo's response to the 1992 quincentennial celebrations of the first voyage of Christopher Columbus to the Americas, is a Venetian fugitive who escapes from the Spanish Inquisition by joining the explorer and coloniser's fourth voyage.
Forced to tend the animals on board, a storm casts him adrift in the ocean on the back of a pig until he reaches the coast and is rescued by the indigenous peoples of the Americas.
A video recording of Fo's performance exists.

1993 brought an important anniversary of Carlo Goldoni; Fo, who was unimpressed, and, choosing instead to focus his attention on Angelo Beolco, planned a joint production between his company and Teatro dei Incamminati, a publicly funded company.
However, with rehearsals well underway, a ministerial letter arrived to block the project's completion with "an obscure law forbidding co-productions between public and private companies."

Fo and Rame collaborated on the monologue Settimo: ruba un po' meno no.
2 (Seventh Commandment: Steal a Bit Less No.
2), inspired by the corruption scandals (Tangentopoli) which were rife in Italy during the 1990s.
They later performed Mamma!
I sanculotti! (
Mummy!
The Sans-culottes!),
set in the eighteenth century but also making references to the Tangentopoli, and featuring music again by Fiorenzo Carpi.

For the 1994 monologue Sesso?
Grazie, tanto per gradire! (
Sex?
Thanks, Don't Mind If I Do!),
Fo and Rame worked with their Jacopo to produce a performance based on Jacopo's 1992 book Lo Zen e l'arte di scopare (Zen and the Art of Fucking), featuring educational pieces on topics such as AIDS, contraception, sex education and sexual repression.
Thus came Fo's first run-in with the new government of Silvio Berlusconi.
Berlusconi's government banned Italians under the age of 18 from seeing it over fears, it said, that the play could "cause offence to the common decency which requires respect for spheres of decency, and provoke distress among adolescent spectators, with possible effects on their behaviour in relation to sex", thus defeating the original purpose of the performance.
Much free publicity ensued, with the censorship issue being debated in the national parliament, teachers calling for it to be performed, and audiences and both Italian and foreign intellectuals signing a petition calling for the ban to be overturned.

On 17 July 1995, Fo had a stroke.
He quickly recovered and was well again by his seventieth birthday on 24 March 1996.
In summer 1996, he wrote Leonardo: The Flight, the Count and the Amours.
Set in 1502, the titular character of the play was Leonardo da Vinci.
In 1997, he wrote Il diavolo con le zinne (The Devil with Boobs).
Described by Fo as "a Machiavellian comedy, a gigantic late sixteenth-century intrigue, with judges and devils, housekeepers possessed by devils, hermits, gendarmes, torturers and even a monkey", it featured an homage to Fiorenzo Carpi who had died earlier that year.
Addressing themes such as AIDS, the Gulf War and genetic experiments, Fo wrote Zitti! Stiamo precipitando! (Hush! We're Falling!) in summer 1990, and it debuted at Milan's Teatro Nuovo that November. The titular character of Johan Padan and the Discovery of the Americas, Fo's response to the 1992 quincentennial celebrations of the first voyage of Christopher Columbus to the Americas, is a Venetian fugitive who escapes from the Spanish Inquisition by joining the explorer and coloniser's fourth voyage. Forced to tend the animals on board, a storm casts him adrift in the ocean on the back of a pig until he reaches the coast and is rescued by the indigenous peoples of the Americas. A video recording of Fo's performance exists.
1993 brought an important anniversary of Carlo Goldoni; Fo, who was unimpressed, and, choosing instead to focus his attention on Angelo Beolco, planned a joint production between his company and Teatro dei Incamminati, a publicly funded company. However, with rehearsals well underway, a ministerial letter arrived to block the project's completion with "an obscure law forbidding co-productions between public and private companies."
Fo and Rame collaborated on the monologue Settimo: ruba un po' meno no. 2 (Seventh Commandment: Steal a Bit Less No. 2), inspired by the corruption scandals (Tangentopoli) which were rife in Italy during the 1990s. They later performed Mamma! I sanculotti! (Mummy! The Sans-culottes!), set in the eighteenth century but also making references to the Tangentopoli, and featuring music again by Fiorenzo Carpi.
For the 1994 monologue Sesso? Grazie, tanto per gradire! (Sex? Thanks, Don't Mind If I Do!), Fo and Rame worked with their Jacopo to produce a performance based on Jacopo's 1992 book Lo Zen e l'arte di scopare (Zen and the Art of Fucking), featuring educational pieces on topics such as AIDS, contraception, sex education and sexual repression. Thus came Fo's first run-in with the new government of Silvio Berlusconi. Berlusconi's government banned Italians under the age of 18 from seeing it over fears, it said, that the play could "cause offence to the common decency which requires respect for spheres of decency, and provoke distress among adolescent spectators, with possible effects on their behaviour in relation to sex", thus defeating the original purpose of the performance. Much free publicity ensued, with the censorship issue being debated in the national parliament, teachers calling for it to be performed, and audiences and both Italian and foreign intellectuals signing a petition calling for the ban to be overturned.
On 17 July 1995, Fo had a stroke. He quickly recovered and was well again by his seventieth birthday on 24 March 1996. In summer 1996, he wrote Leonardo: The Flight, the Count and the Amours. Set in 1502, the titular character of the play was Leonardo da Vinci. In 1997, he wrote Il diavolo con le zinne (The Devil with Boobs). Described by Fo as "a Machiavellian comedy, a gigantic late sixteenth-century intrigue, with judges and devils, housekeepers possessed by devils, hermits, gendarmes, torturers and even a monkey", it featured an homage to Fiorenzo Carpi who had died earlier that year.
Dario Fo