" For us however, the clown is more than a character or a convention within the theatre. The clown represents a vehicle or catalyst that facilitates the theatrical expression of the imagination. This I shall now explain with reference to the role of the "imagination" in clowning."
The role of the clown as mediator comes from using the clown's nose which as a mask unmasks our inner self.
the imagination in action in the context of child development and of clowning.
the clown is not approached as a technique in which one submits to taking on an external form (this would be acting as a clown) but is rather an archetype that one needs to discover within oneself (this involves finding one's own specific way of being a clown).
When someone is behaving stupidly or inappropriately we might say: "Stop clowning around !". Even if we sometimes admire and envy these types of behaviour, they have been so repressed and devalued that they bring about in adults who do clowning an interesting state of unease and instability.
Finding your clown - a state of being
Clowning is a state of playfulness, of being in play which we could call "being clown". Our work brings people to experience a child-like, naïve and fragile state ...... but also to experience its opposites through intensity and amplification. Listening and being receptive is central to this approach - which means one needs to stay close to one's physical body, to one's feelings and senses. Those who have experienced our work know this : What is essential in clowning improvisation is to remain receptive to what our senses, posture, gestures, actions voice and emotions tell us ..... not to come on stage with an idea, a plan or a pre-conceived scenario.
The clown's way of looking at the world reveals a world beyond what we know of it and beyond what the "known" has hidden from us.
we take great care to create a secure environment in our work. Playing is a form of letting go that needs to be structured around rules that act as safeguards. It is for this reason that we give special significance to the wearing of the nose, to a clear definition of the space which represents the stage, to the need for eye contact with the audience ... and for the actor to remain "in touch" with the comments and information that the group leader gives during an improvisation. I often use the example of kite flying to express the relation between actors and their audience (the group leader is part of that audience). Just as a kite needs to be connected to the earth by its thread in order to fly, actors will be freer to enjoy the thrills and sensations of flying through their imagination when secured by their grounding to reality. But kite flying is a subtle art and the group leader must at times relax his or her hold and at other times tighten it hopefully in the right proportion so as not to restrict actors in their flight. The group leader's role during an improvisation is to "facilitate". One of the ways we do this is when we point out the visible and concrete facts of what is happening which actors (who are in the thick of it all) can easily miss.
Clowning may be an expression of the actor's deeper self but what the clown reveals also directly concerns us as an audience (touching on the great issues of life, love and death) and can inspire us, move us and become like a mirror held up to us. Clowning brings a different light to bear on the darker side of our imagination and dreams(1).
- (1) From our friend Rosine ROCHETTE who refers to Ariane Mouchkine's work in the field of clowning: :"I'd like to mention something Ariane advised us to do to find our clown. It was to contact within us where we fell short of what society expected from us. It was like finding again the places where you slip up, where you feel an outsider, doubt your sanity and become unique ... basically something to do with your deep self".
When the monsters within are brought out in broad daylight they generally become for us and our audience objects of great fun and pleasure. Through them we can begin to negotiate our self-awareness and our humanity.
Another thing to mention here is that the imagination also challenges our relationship to authority, rules and social norms [limiations]. Creative or expressive activities define the norms they operate under and need to negotiate the degrees of originality and unconventionality they can tolerate. The clown however is a "non-conformist" by definition and plays a subtle game with rules and social conventions. In clowning the actor no longer needs to be the responsible, mature, educated and intelligent person which we all are (of course) but can become an unruly spirit prone to excesses and a keen explorer of the edges of things.
free actors to find their own clown, unique and grounded in their relationship to the audience
Our workshops provide a precious space where we can "skirt playfully round our defences and bring to light hidden facets of ourselves".
Kids say the funniest things
https://www.youtube.com/watch?v=1Ip-tMe278E
Some of the clowning situations we use in our workshops are set up specially to facilitate actors to connect to the imagination. An example of this is what we call "The Interview". Here the group leader interviews a clown around a given professional activity as if for a TV or radio documentary (The actor only learns what his or her profession is during the interview). By giving free reign to his or her imagination, the actor gradually begins to build a fictitious persona. The interview is a powerful experience in the life of a clown-actor and for the group. We are often moved between tears and laughter as the actor begins to live the part and gives life to that "fictitious other", different from and yet so close to the actor. During the feedback that follows the improvisation, actors often tell us about images, memories and stories from their own lives which came to them spontaneously whilst they were on stage.
For instance, kids are natural explorers—they’re open to ideas—they’re spontaneous. They play constantly. And it’s when they’re in a state of play that they’re the most focused and creative. We need to play MORE in order to get out of our adult box, build stronger relationships and let those creative juices flow.
At a talk recently I asked the question, “Do you think you’re a great artist?” Not many adults raised their hands, but I made the point that if you ask a room full of kids the same question, just about EVERY hand goes up! They don’t just think, they know that they’re great drawers. They don’t have self-imposed limitations (we have a lot of doubt - doubt kills inspiration - Aole), and they can’t wait to share their creations. Plus, they bond instantly with each other.
If you get a chance, sit in on a young child’s birthday party or in an elementary school classroom and just watch them. Really watch them.
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