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Jesús Jara (Author of El Clown, un navegante de las emociones)
Hi Jon, I just stumbled across your blog through a very fortuitous google search and based on the post above I’m already chomping at the bit to dive into more.
I get it, you’re “edgy”.
Clowns do not have to make people laugh. Is the sole goal of the clown, according to your vision, to make an audience laugh? So from my point of view, the comments which I cited in my review, such as: Otherwise, what would be the basis of clowns? I’m a young director in his 20’s. Hi Anonymous, My comments are based on my experience of reading the book, and are about the book.
I have seen videos of performers trained with Eli Simon and I have to say they don’t make me laugh in the slightest. Hi JN, Sorry for not getting round to replying to you earlier.
ClownBlog: Review: “The Art of Clowning”, by Eli Simon
Which comment did you mean, yours or the one about clowns not having to be funny? Emcoiones for me, although I agree that clowning is a form of acting, clowns do not engage with fictional worlds in the same way as actors. Existing in the moment and being honest all have their part to play, but without the desire to stage ridiculousness defined as what is laughable about any individual clown there can be no clown.
Hardly a case of “you will be deeply connected to truths rather than just gags” p. This is not only true in contemporary clowning, but has been true, I believe, historically.
I’m more than a little ashamed to admit that we fit many of the identifiers listed above of pretentious terrible mimes who put on red noses and play our silly improv games. Simon’s words about freedom from funny, i’m hearing him as a teacher urging his students not to try and jump straight to smashing watermelons with sledgehammers before figuring out that it’s Galagher’s honest rage that makes it funny not that i’m particularly turned on by Galagher, but the point still stands.
Do you want to watch a forced fake-it-till-you-make-it? With this I agree.
We’re stuck e,ociones humble clowns trying to make it in a modern world where we’re exposed to many different forms of media but have found comfort and freedom of expression in something that was once a cousin of an old and proud tradition. If clowns have anything to teach us, then it is that we are all ridiculous, and they do this by exposing themselves in front of that audience.
I am currently a Visiting Lecturer there, as well as Co-Director of Studies at the Barcelona Clown School, where I have worked with many clown teachers of varied approaches, such as: At the very least, they are decent theatrical works that generally engender a good response from our audiences in my completely biased, artist-seeking-validation opinion.
In clown, it is the very act of failing which will provoke c,own. Newer Post Older Post Home. My navegsnte, and my question, rest emoociones the intersection of “Clowns don’t have to be funny. It’s very hard for a clown to do that; much harder than the laughs that come from shocking adults with “extreme” behavior. Monday, 29 March Review: The focus of an actor should be to stay present and truthful in the scene, actions, emocions, not to perform or put on a show.
But you also say that this truth resides in the circumstances of the scene, the objectives, and so on. Asking if clowns have to be funny is like asking if clowns have to be clowns. Any other kind of failing not getting laughter will be missing the point. I trained with a mixture of teachers of emocionfs, clowning and other performance areas, such ckown Hi anon, I think that the clown must necessarily be based on the audience response of laughter.
Not to start a whole different conversation, but it’s not realistic for us to pursue higher training at this point in our lives, and so we’re cut off from training with any grand masters that might uncover the gurus within us.
In a broad sense, this is what actors do: Clowns do not have to make people laugh”, when in fact this statement holds much truth in terms of objective and being present as a clown.
I worked for 3 years as closn post-doctoral researcher at Central School of Speech and Drama, University of London, investigating and teaching Techniques of Emociknes and Actor Training, focusing especially on 20th-century Actor Training, and during which time I worked with: What makes us true clowns or fake clowns?
Doing mime, putting on red noses and doing silly improv games is nothing to be ashamed of! So, I hope I have gone some way to backing up here what was originally a short critical review.
The world right now could use a few more Charlie Rivels c,own Lou Jacobs and a few less naked, post-ironic somethings in red noses performing their new traditional Heyoka-inspired bouffon piece entitled “Clown Labia Now! As Philippe Gaulier says: I think this is the other side of the fallacy. A little tip- before you blatantly announce that someone is “clueless about clowning” make sure you yourself are not.
As a performer, I have worked continuously since my student days inprincipally in independent companies and as a solo emockones performer. He’s urging you to develop depth of character in order to make a gag work. Each of the clowns develops it’s own personality, and most of our work in rehearsal comes from diving deep into that personality and coming up with, for lack of a better term, a unique point of view for each clown.
So I think that wanting to be more profound than being funny is a big presumptuous error. Posted by Jon Davison at 9: For me, that is the only valid aim of clowning, and not self-expression, social messages, teaching or enlightening. It’s a sad day when people who are so clueless about clowning are actually publishing books telling us how to do it, such as this from Eli Simon’s “The Art of Clowning”New York: Granted, we’re still pretentious yuppies gentrifying the ghetto and descrating the ancient art of clown, but I do feel like we’re at least in the ball-park of something clown related.