Volume 1 Number 11
Hi Folks,
A little bit of fun this week as we have a quick look at the study of Clown in the Drama class (and beyond). For those of you who don't know me well, I worked as a clown (on and off) for the better part of six years. Most of my limited performance skills were developed through the creation of the various persona's of the clowns I presented. My final character was a fairly well-rounded and abysmal punster who practiced a range of circus skills and magical feats to engage audiences of all ages. Sonny Daze was somewhat irreverent, but curious and child-like, and could turn any random comment into the worst pun you could imagine. Despite his lack of restraint in delivering the evil pun he was good natured and caring and in many ways a reflection of the environment in which he found himself. When at a party for a three-year old he was silly, childish and innocent, but take him to a hen's night and he could be disarmingly wicked, yet apparently naive!
LESSON/ACTIVITY IDEA
The
Clown and the Shaman - at first glance you may think what the heck have
those two characters got to do with each other? Well, some people
may be surprised to learn that they have a common ancestry; and no, I am
not trying to link Darwinian Evolutionary theory to the art of slapstick
- although there could be a Ph.D. in there somewhere!
Rather, I am suggesting that the clown and the shaman have both held a privileged position in various cultures throughout human history. The two photos framing this article are of Sonny Daze, an amiable clown of theatrical dimensions, and a shaman (or tribal clown) in the village of Sigoti in the west of Kenya.
The study of "clown" and "clowning" can be tackled in so many ways and for so many reasons. To develop a complete understanding of comedy and tragedy, religious drama, Commedia dell'Arte, slapstick, the role of Drama in cultural development and the notion of ritual in Drama it is useful to engage with the concept and idea of "clown". It is also useful in developing a greater awareness and understanding of many aspects of technical stagecraft... the art of "clocking* an audience", understatement and overstatement, comic timing, characterisation, physical theatre, mime and movement, and pathos can all be tackled by way of the clown.
My approach to clowning is heavily influenced by Tony Kishawi (from Transient Theatre - see Professional News below). I draw on the following aspects of his teaching:
"I will look at the age old Clown formula, Child, Simple and Adult Clown. The Child Clown is the one that most people see, the red nose Clown, it is the most likable one, the trickster, always sees the fun in an activity, life is to much fun to have to be serious all the time. The Adult Clown is always trying to pull the others into line, saying things like 'If only I didn't have to work with such stupid Clowns my show could be great! I could be world famous'. Then the Simple Clown is the innocent, will go with what ever is happening, they are used by the other two, but in the end learn by their mistakes and come out understanding! earning empathy from the audience, leaving the other two to live with their bias." Tony Kishawi
The Simple Clown
This is an important character to understand. The simple clown, as Tony Kishawi is quoted as saying, is the innocent. S/He is without guile. S/He is the blank page. The simple clown sees life as it is, the Dao, if you like. This clown is not the prankster, the simple clown means no harm and approaches the world with charm and ignorance, yet this is untainted by ego.
To begin... have your students adopt a neutral position. Now, allow the mind to clear and simply look at something in the room. See it as if for the first time. Be intrigued by the thing you are looking at. Show a smile on your face that beams the joy you are feeling towards the thing that has your attention. Be oblivious to everything else. Slowly shuffle towards the thing.
The simple clown is totally open and honest, there are no guarded emotions. This manifests itself in a body position that is fully open. 100% directed towards the thing that intrigues. And then just as quickly something else captures your attention... first your eyes are drawn to this new thing. Then the head turns to match the eyes and finally in separate and clearly distinct movement, the body turns to match the head.... you take stock of the delight that this new thing brings to you and once again you are drawn towards this... and the cycle continues...
Enter another person... the simple clown simply loves to be around people. The simple clown in many ways does nothing but live in the moment... but in the company of strangers, and as far as the simple clown is concerned everyone is a new friend, the essence of the simple clown is seen most clearly. The simple clown notices new people and seeks to be noticed and acknowledged.. it is enough to simply be in the company of others. The smile says it all, just as the disappointment that is evident should the simple clown ever experience rejection.
Explore these qualities.. discover the dynamics of introducing the simple clown to all types of people.
*"clocking the audience" - a technique of looking directly at the audience, often associated with mask work.
RECOMMENDED WEBSITE
What is a clown?
"A divine spirit -- to rejoice and delight the heart," according to a nine-year-old Egyptian Pharoah who heralded the first recorded appearance of a clown around the year 2270 B.C. The comic spirit of clowning exists in just about every known culture. It is as old as civilization. This ancient craft speaks to that which is human in all of us. This site also offers a collection of Educational Articles relating to clowning.
Another interesting, but poorly referenced, article on the significance of clowns.
PROFESSIONAL NEWS
Finding ones true clown is a important process for any performer. at the heart of clown there exists a fundamental humanity that can be translated into any genre of performance. Clown ignites the absurd that is in all of us and gives us greater access to our creative impulses as performers. Part of the overall activities of the Transient Theatre Company
RECOMMENDED RESOURCES
Clowns
for Beginners (Writers and Readers Documentary Comic Book.)Be
A Clown! - The Complete Guide to Instant Clowning
by Turk Pipkin
Written by the towering Turk Pipkin, a 6' 7" professional clown, BE A CLOWN! The Complete Guide To Instant Clowning provides the know-how, techniques, encouragement--and official red plastic nose--needed to put kids of all ages in the center ring. This lively, humorous handbook covers all aspects of clowning, including makeup, funny faces, costume (how to make big clown shoes at home), and props like the Bouncing Hankie. Fully illustrated throughout, it reveals step-by-step the secrets of Slapstick, Timing & Takes, and Juggling. Develop your own oddball walk, swallow chair legs--you'll always have a stunt up your sleeve.
Creative
Clowning
Clown
Act Omnibus: Everything You Need to Know About Clowning Plus over 200
Clown Stunts
Kim Flintoff
Copyright © September, 2004