CLOWN

Clowns - What Are They?

Clowns appear in many guises and situations. For example, who was the "class clown" that you remember from school days?
Is there a 'clown' in your family? Do you remember the first 'real' clown you ever saw? Most likely that first clown was at a birthday party,
or circus, or at a street festival. If you are from a non-Anglo culture you may have grown up with clowns completely integrated into cultural rituals. The are many types of corporate or commercial clowns that appear in any paid situation from corporate events to hospitals to cross-borders clown. Clowns as entertainers appear in burlesque, cabaret, plays such as those written by Shakespeare, Moliere, Beckett, and many other great writers. Clowns of course appear in circus and there is hardly any circus without clowns. Clowns are well placed within musicals, operas, ballets and contemporary dance. The clown can appear fully covered with no skin showing or the clown can appear naked. There is no limit on how a clown can behave nor what a clown can do. It is the most open performing art.

How To Train As A Clown

This section will have a few parts that apply to either or both professionals and novice clowns.

As mentioned earlier there is an whole range of clowns but the general categories would include:
circus; theatre; street festivals; hospitals; socially challenged areas, including war zones;
birthday parties; and other forms of entertainment, including corporate events
and cruise ships.

Each of those areas naturally have specific demands.

What I will address primarily is the general ideas of how one trains
as a clown to get started or to improve as a professional.
Additionally I have devised a clear, linear and adaptable method for
clowns to train daily similar to the way a dancer, musician or artist
practices or trains.

First lets look at the idea of clown schools and clown workshops. This
is difficult territory because 'clown' like many areas of acting and
performance already has some 'cult-like' tendencies. For example in a
cult one assumes that ones way is best. In terms of clown schools
people rarely research to find out what is really available in terms
of schools. Additionally people rarely ask then what is the actual
curriculum and the actual amount of time one spends on the floor -
working - each day. Further, there is a word-of-mouth tendency to
accept the status quo and the 'trend' without any logical questioning.

However one of the biggest errors that the learner (professional and novice alike)
happens when they ask what REALLY has worked to make certain clowns
successful and stop at when they find "oh they went to such-and-such school"
or "oh they trained with so-and-so" without asking further...
"what did the person/clown do BEFORE and AFTER they studied
at such-and-such or with so-and-so. So asking where a person trained
is the most superficial question and really does not provide the truth. The truth is more
complex, layered and has everything to do with who the person/clown's parents
were, how the person/clown trained as a youth, what their education and
upbringing was like. Further, if we look at one of the most known schools...
Further, if we look at one of the most known schools -
you will see that although it is very famous - the head teacher is in
fact abusive to the majority of students. If you don't know who this
is, you can write to me and I will tell you directly. I have in fact
supported people who ask me about going to this person's school... to
go. But that is simply and openly to say 'satisfy your curiosity' but
only do a one-week workshop. Save your money and your time.

The abuse and the reports afterwords by a few select people is 'it was
good for me'. Yet if you look at their work either as an actor, clown
or clown teacher it is obvious the only thing that was 'good' is that
their ego got inflated perhaps by being a 'survivor'.

So one has to ask what REALLY works. So out of a long list of
wonderful clowns, with most coming from completely different schools
and backgrounds what is the common thread in their success. For this
one must ask a number of other questions all of which have to do with
what the individual clown did BEFORE they went to a particular school
or  training or particular teacher. In most cases you will see that
the individuals had already some commitment to physical training as a
youth or they had some particular circumstances in their own family or
schooling that really helped them to succeed.

The traditional clowns learned by learning a routine with the senior,
veteran partner(s). After doing what was required and then performing
in front of audiences, gradually their character would begin to
emerge. For the last 40 years there has been a tendency in certain
schools to impose a character on an actor or student of clown. Whereas
in truth as the traditional circus clown masters knew, the character
will emerge naturally and organically over time. One of my main
theatre teachers, Carlo Mazzone-Clementi (1920-2000) told us that ones
character actually took 10 to 15 years to emerge. During that process
one may portray one character or 100 but the character that most
significant clowns are known for took... 10 to 15 years to emerge.

Yet in a workshop, I see no problem with a person trying a character
of their choose (or mine for that matter) on day 1. However, on day 2
they may choose to try another and day 3 another and so on until
something starts to gel for them. Once the so-called character is
chosen, then I see that their self-imposed limitations and definitions
of that 'character' are often directly inhibiting their real
discoveries.

I have seen Slava's Snowshow so-far four times in four countries. I
have met him twice and once had a chance to speak at length with
several of his actors. One of the actors had only been with the
company and in the show one month. Before he had just finished a B.A.
in acting in Russia (where they have superb training physically,
vocally, and in classical Stanislavsky based acting as well
intellectual rigor in theatre history and thorough study of plays).
The process to come in to the show is to start. That means when the
penguin-like green clowns with the big hat and big shoes enter the new
clown follows them. But when suddenly 5 of the green clowns each walk
a different way and the new clown doesn't know who to follow, his or
her character then starts to emerge. Eventually, they know the routine
but in the free-form sections they have already emerged with their own
creative instinct. This is further interesting because the
penguin-like green clowns with big shoes and big hats all 'look' alike
and dress alike and more or less have the same makeup and nose yet
they are all distinct. They are like TweedleDum, TweedleDee,
TweedleDummer, Dimmer, Dumbest and MostSeverelyDumb. Additionally in
one of the Snowshow troupes there are four actor who alternate as
Slava's character in the banana yellow baby suit, none of whom is
actually Slava.

Yet the show is still totally enthralling and magical. Yet, naturally
some professional clowns and actors and clown directors will love to
cut, slice and dice the work as if no one in the audience loved it.
Professionals often need their head (mind) examined. They are cruel
for no reason other than jealousy or cynicism.

Yet at the same time there is a phenomenon around 'clown training'
whereby people have stopped asking deeper, more interesting, more
engaging or more helpful questions. Really people are looking for a
quick fix and are quite willing to pay for it even though the quick
fix almost never works even in the so-called most famous school(s).

In Australia for example amongst the clowns who has actually seen the
living legends, LIVE ON STAGE such as Barrie Humphries, Reg Livermore,
Max Gillies, Sue Ingleton, or Mary Coustas for example? Yes, I admit
it, I would rank them as five amongst my top ten clowns in Australia.

What I am saying is that to understand where and how one can train as
a clown it would be good to SEE some of those people I mentioned...
LIVE ... on stage i.e. with a real public and see how they have
mastered clowning. Then one can ask, did they go to such and such a
'school' for clowning?

So what can one do? Occasionally I am asked are there any books on
clowning that I can recommend? Well I can and I will. In a moment. But
first it is important to note that in education, generally, it is very
important that a teacher provide bibliographies so that the learner
(professional or novice) can do their own first hand research. The
first book i will recommend is not only THE masterwork on clown but
provides one of the most complete bibliographies for further study of
clown. Although the author actually qualifies it as a "Selected
Bibliography", it is in rather extensive and includes all of the
classic great books such as on written in 1935 by Enid Wellsford for
example. That book is Clowns by John Towsen and is available in most
university libraries and often from other clowns. That book was
published in 1976. There are several other good books published
recently that add to Towsen's legendary research but do not replace
nor supersede it. I will tell you of those four books which are all
the most recent and the only ones I can recommend. There are others
and they are dross and sad contributions to the field.
Besides Towsen's book and the classics which I strongly recommend such
as Wellsfords, here are the few I do recommend.
The two newest are:
Serious Play by Louise Peacock. This seems like a post-Towsen but it
has a limited field and leans towards the 'academic' i.e. slightly too
academic. I thoroughly like the structure but it is also, generally
speaking, Anglo-centric. Still it is fine as PART of your clown library
and research.
The Art of Clowning by Eli Simon is the closest to being an excellent
practical guide and user's guide to clowning. Based on excellent
teaching practices and a very in depth knowledge of clown and acting.
Simon sets the stage for a safe-space for clown training. That is
based on a lot of authentic experience. Simon also integrates in a
light and wonderful way hints to the wise with mentions of various
great clowns. I am not saying this book is the way to train clowns,
especially not for fully professional clowns who require high levels
of skills. However the book is a FABULOUS tool for actor clowns and
for teachers of drama in schools. Again this book is PART of the canon
of books for a clown's library.

Another recent book is Why Is That So Funny? by John Wright. I like
this book and the writing just as well as Simon's as PART of the canon
of ones clown library. Interestingly they both mention Stanislavsky in
fairly positive lights. Really, if you are serious about clowning, you
should learn to act and I mean in a classical, Stanislavskian,
Method(Strasberg-Adler-Misner-Garfein) way. At least read
Stanislavsky's books, they are golden words for any intelligent and
diligent clown. Wright's book explains too that unlike Simon he is not
creating a method but sharing. Where as Simon's book although a clear
'method' actually has hints that one can take things much further.
Simon is used to teaching in the modern universities that are dictated
by political correctness and litigious society's demands. Health &
Safety as the ruler of ones soul, so to speak. Both Simon and Wright
mention Keith Johnstone but only Simon mentions Viola Spolin who was a
total master, like Johnstone of improvisation. Neither mention Dorthey
Heathcote who had an incredible understand about teaching, learning,
empowerment via improvisation. Johnstone's second book clarifies how
improvisation has gone wrong.

So yes, hint hint hint, as a sideline to 'clown' books I certainly
recommend any books or dvds of the work of Spolin, Johnstone and
Heathcote!!! Hint hint hint.

Also interestingly Wright's book only has  9 books in his bibliography
whereas Simon's doesn't have one, Peacock's bibliography is a treasure
chest.

Another recent book, i.e. one that is excellent and one that I can
recommend is From the Greek Mimes to Marcel Marceau and Beyond by
Annette Lust. This is a grand book on the history of mime but that of
course crosses over into clown.

Here are three 'older' books on clown that I also recommend as part of
your clown canon for your library:
Durov's Pig by Joel Schechter
Acrobats of the Soul by Ron Jenkins
Lazzi by Mel Gordon

All three of those books are excellent.

There is another book that most of the clowns of my generation read
also that has 200 clown stunts. You would need to w-o-r-k to u-s-e
this book but it is and was a great tool for many wonderful clowns.
Clown Act Omnibus by Wes McVicar. This is really more of a commercial
clowning book but filled with knowledge.

I also recommend reading auto/biograhies of the great clowns such as
Lucille Ball, Grock, Charlie Rivel, Chaplin, Keaton, and 100s of
others. One that should be part of your canon though is Steve Martin's
recent autobiography Born Standing Up. In a practical way it is one of
the greatest clown books ever.

Meeting One of The Greatest Clowns - Nils Poppe

About 1994 I was teaching a group of actors clown and theatre in Göteborg, Sweden. On a Sunday, at home, I happened to turn the TV on,
when in the middle of a movie the scene I was watching had an amazing clown. The movie was in Swedish. On Monday I asked my producers Aleka and Eva who the clown may have been. I described the scene then they said well it must be Nils Poppe. I said we have to try to get him as a guest teacher. They said he is very old. I asked them to find his contact and phone him. They were too shy. In Sweden, Nils Poppe and another clown Charlie Rivels (famous for his skill, dress, cry and call "acrobat OH!!") were regarded like Santa Claus or as gods. So, I called information, got Nils' phone number, phoned him and his wife answered. I then was able to speak with Nils Poppe!!! He invited me to visit. He was old, about 90, so I thought sooner-the-better. I went that weekend. Arrived via train then taxi - on time. There was no car at the house. Not a good sign. I rang the doorbell. Waited. No response. I rang again. Waited. I heard a noise. The door cracked up and there was the great clown peeking at me and smiling. He told me his wife would be back soon, come in. He shut the door. He signalled for me to follow him. He shuffled down the hall a few paces, he stopped, turned to me behind him and growled "acrobat uuugh", and smiled as we mutually acknowledged yes the old master is now quite old!! His wife and daughter had gone out to the bakery and made coffee and served up the cakes for us. Nils and I spoke for three hours, during that time he showed me some of his documentary and I showed him one of my pieces on video. While he watched my video he mugged and made faces that I made and imitated me while he was sitting on the sofa. It was surreal and metaphysical to watch Nils imitate my clowning. During the time i was also trying to imagine how I could get him up to my studio located on the third floor without an elevator. I imagined which of the larger men in my group could carry him up.

I didn't manage to bring him over. But when I taught on Monday and told the actors the tale of the three hours, I also said "If you can tell me where a wild-flower comes from, then, I can tell you where a clown comes from". One can learn clowning. One can become professional. One can be a very good and successful entertainer. But I think authentic clowns such as Nils Poppe are very rare. Nils was a great actor. He was a film auteur, and his most famed film is Soldat Bom. He was a dancer and acrobat, and in his film when he is bullfighting, he is really in the arena with a real bull. He had two cameos in two of Ingmar Bergman's films. In one of Nils' films, his acting teacher plays God.

Sweden is rich with clowns and has another legendary clown, Clownen Manne aka Manne van Klintberg. Manne has a solo show that I believe he has played over 10,000 times Min Bror, Min Bror. Manne had a tv show and deeply inspired two or three generations of clowns in Sweden. Some of those people I helped to teach in 1979-1981 when I helped my friend Ole Brekke establish his school Clownskolan in Stockholm. 

Continuing With Bits of Autobiography ...i.e. ...a part of my clown journey

A few years later Ole relocated to Copenhagen and renamed the school The Commedia School. The Clownskolan originated with the mime/clown/juggler Michael "River" Lynch. River began clowning with Jango Edwards and his Friend's Roadshow. River had the opportunity around 1978 to move from Sweden to New Zealand where he single handed fired the clown development in New Zealand. River went around the country to nearly every small town and village and gave a solo show and workshops mostly in mime and juggling. His mime was comic, so he was also teaching 'clown'. River saw my solo theatre show at a clown festival in Sweden in 1980 and invited me to come to New Zealand to further the teaching of clown with more advanced skills that I had. River opened the doors for me and i had offers from around the country to perform mostly in art galleries that at the time hosted my theatre and workshops. By the time I arrived though I had a partner and we thus took up the contracts as a duet called Heroes, Regulars, and Jerks. My partner Barbara Doherty was a dancer who was also a mime and clown. She inherited the last leg of the troupe The Great Salt Lake Mime Troupe. She and her then partner Jodi Glibert (another dancer who was also a clown, mime and gifted singer) changed the name to Heroes and Regulars (sandwich names in NYC where they lived). When I teamed with them we added the Jerks (Heroes, Regulars, & Jerks). At first we fulfilled our individual contracts but as a trio we were a free-form improvisational theatre troupe with no rules. Zero rules. We had no discussion before a show about what we would do. At 8pm the stage was lit and we (one, two or all three) entered and began. When we took a bow the technician knew the show was over. Or if the show had to finish in 60 minutes, the technician would begin to dim the lights after 55 minutes thus we could tie up the show and end on time. Often we had a guest musician with us and the musician was as free as we were, i.e., no rules for him either. The musicians were played a variety of instruments - sax(Michael Moore) guitar, drums(Michael Vatcher), standup bass, or cello (David Darling in that case). I was part of the wave of new clowning that originated with two incredible troupes The Great Salt Lake Mime Troupe which originated with people studying dance in the outstanding course at Salt Lake University. The originators were Katie Duck, Georgio Peugot, Matthew Child - later this evolved to Barbara Doherty, Jodi Gilbert, and myself. The other troupe was Jango Edwards and his Friends Roadshow. In May 1975, I attended the Experimental Theatre Festival at Ann Arbor, Michigan. On the Saturday afternoon on the campus lawn I saw the original GSLMime Troupe followed directly by Friends Roadshow. After seeing them both I decided on the spot that I should become a clown. I went up to Jango after the show and chatted briefly and asked if there was anywhere I could study clown and he suggested the Ringling Clown College in Florida. I called them and applied for their amazing 8-week intensive. That year, they had over 3000 applicants for about 50 positions. The day before I was to move to Florida I finally received notice. I did not get in. On the advice of my German sociology professor Peter Dittrich, I went anyways in case someone didn't show up. The course was to start on a Monday. I arrived the Thursday before. The director of the course Bill Ballentine was there and I informed me that unfortunately they had a waiting list of 12 people in case people did not turn up. He knew I was a finalist i.e. one of 100 finalists of whom 50 were selected. He suggested that I apply next year but that we check my application to see if there was a reason I was not selected. The form was elaborate. But he saw the critique mark on a single question. That question asked If "you had tried or been addicted to any of the following?" -  there was a list of five types of drugs. I had tried one. Marijuana. Twice. A single puff in each case. I was very straight, honest, and naive. Bill saw that and looked me square in the eyes and said "Ira, no one who got in answered that question 'yes'. Do you understand?". The next day I got an apartment on a near by beach, Siesta Key, and through coincidence, I visited the students of Clown College every Sunday and saw their final showing. Not only did none of those students answer the question "yes" but boy were they a bunch of druggies!!!!! My God I was naive. Thank you Mr. Ballentine. In another episode of this story, I will tell about the 'coincidence' I just mentioned above. I wrote to Jango Edwards (yes, a hand written letter) and said I did not get into Clown College, and asked if he had any further suggestions. I mentioned that was created my own daily training regimen and had found a mentor Danny Chapman (former Boss Clown of Ringling CIrcus for 7 years and founder of Ringling Clown College). My regimen included jogging on the beach and swimming every day commencing shortly after 6am. Then I went to Danny's to train in juggling, acrobatics, tight wire, trapeze, revolving ladder, and trampoline - all in his backyard. Jango wrote back (yes, a hand written letter) and suggested very simply that I should start performing on the streets to learn about audiences, and, that I should get the book The Fourth Way by P.D.Ouspensky. I managed to get The Fourth Way then the same day. I began to read and to study that book. At the same time, I bought a book on self-hypnosis and began to work consciously with my dreams every day. On the beach one day with my training buddy, Ted Keyser, who I met coincidently at Clown College, we were practicing handstands on the beach one early morning and an older man in a bathing suit came up and commented and said that he used to do those. Then he said "catch my feet" and he jumped to a handstand and started to do a few handstand pushups. That was Victor Drilea. He was 79. He was a retired engineer originally from Rumania. He was also a voice coach. So he began to train Ted and I in voice work, in the Gulf of Mexico with the water up to our chest. So with Danny, Victor, Ted, Ouspensky, dreams and a lot of exercise - life became very full and exciting. My clown journey began.