For the Expo ’92 in Seville, Dario Fo, the Italian playwright and actor, revived his own historical performance, Isabella, tre caravelle e un Cacciapelle (Isabella, three caravels and a con man), which, back in 1963, had parodied Spanish history and annals, pointing out the many misdeeds carried out by the Catholic queen of Spain in the name of holy causes or in the name of the marriage of private interests and ideological-religious propaganda that is fundamental to colonialism.

With the lights on, before getting to the actual performance, Fo proceeded with an introduction, which is both a