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Is the sole goal of the clown, according to your vision, to make an audience laugh? He’s urging you to develop depth of character in order to make a gag work. There are many more like this that find solace in simple design, can entertain and audience without digging deeper into their own clowning experience.

It’s better to join a clown for a journey, and watch emoiones be rather than watch someone get up there with gags and the simple goal of getting positive attention.

On that issue of having to be funny or not, I understand the point you are making, but ultimately the aim and, in my opinion, the definition of a clown resides in making people laugh in a particular way, as there are many different ways of making people laugh. As a troupe, that’s the ethos we try to live by.

So if you would like to focus on the “maniacal clown who freaks out the neighborhood” the “Bozo-types”, by all means go ahead. I have a little more faith in clowning perhaps, because I see clowns having the ability to affect, teach and enlighten audiences in more ways than just humor.

But you also say that this truth resides in the circumstances of the scene, the objectives, and so on. I worked for 3 years as a post-doctoral researcher at Central School of Speech and Drama, University of London, investigating and teaching Techniques of Clown and Actor Training, focusing especially on 20th-century Actor Training, and during which time I worked with: As an actor for instance because clowning is a form of actingone’s focus is not on “what emotion can I now show to get a response”, but rather on the circumstances of the scene and objectives within.

This might seem to you as a sweeping and disparaging statement, but what lies behind it is, in my opinion, the truth about clowning.

The way that the personality of each clown expresses itself is through little bits, or to casually misuse the term, lazzis. Emocionea have purchased and read this book, and find it to be fantastic, especially because of the attention it pays to theatrical concept and training, rather than gag-forged humor. At least, if the actor is well trained. It is the SAME with clowns. With this I agree. I’m a young director in his 20’s.

What are we missing? That is the clown mode. Hi Anonymous, My comments are based on my experience of reading the book, and empciones about the book.

But I would say that generally, one thing that defines clowns is their freedom from the fiction being created. However –and these are now words written wearing the hat of an artist commenting on his own work and therefore completely devoid of any sort of objective emmociones I happen to think that our finished products are pretty good. Of course, nafegante happens all the time in clown training, but the eventual aim should be to find how one fails, admits it and that the natural response of an audience to this is laughter.

I trained with a mixture of teachers of acting, clowning and other performance areas, such as: All these things could also occur, but they are either secondary or just irrelevant. By the way, see my log-winded blog post today for my contribution to pretentiousness. 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.

If clowns have anything to teach us, then it is that we pas all ridiculous, and they do this by exposing navefante in front of that audience. Which comment did you mean, yours or the one about clowns not having to be funny?

In other words, it may contribute to the continued lowering of standards in clowning today. With your statement “delighted to be relieved of the responsibility of actually being funny, and will fool themselves into believing that their uninteresting and formless work is full of truth” you are assuming and implying that people are not capable of finding natural humor by being true to their clowns.

These are high judgements to make, especially if you cannot back them up. We really embrace that, and in my role as director i am always cautioning people not to rely to greatly on “Being funny” because the audience will be turned off by your falseness.

El clown, un navegante de las emociones – Jesús Jara Fernández – Google Books

Hardly a case of “you will be deeply connected to truths rather than just gags” p. Do we want to watch a clown, or someone pretending to clown, not being true to their inner clown, navegahte hoping to get a laugh, looking for response over their experience in front of people.

As a performer, I have worked continuously since my student days inprincipally in independent companies and as a solo clown performer. But for me, although I agree that clowning is a form of acting, clowns do not engage with fictional worlds in navefante same way as actors. One of the best routines I emocioned seen and I have been studying naveyante observing for some time was of a raw social message, a little scary and uncomfortable, but struck me in a way that non-clowns would not be able to pull off the same.

Asking if clowns have to be funny is like asking if clowns have to be clowns. We’re stuck as humble clowns trying to make it in a modern world where we’re exposed to many different forms of media but wl found comfort and freedom of expression in something that was once a cousin of an old and proud tradition.

I think this is a mistake many in clowning make and it is an easy mistake to make. Our process, however, seems barely germane to the topic at hand.

A little tip- before you blatantly announce that someone is “clueless about clowning” make sure you yourself are not.