Clowndance for Clowns 2024
THURSDAY: Solos
By the third day of the intensive we had got into the swing of it, and today’s session was fun but also very moving in places. Thursday’s theme was performing solo, which can feel very exposed and can push people to revert to familiar ways of working.
As a director I am always aware of how frightening it is for a performer to get up on stage in front of an audience, and I think it’s important to acknowledge that in rehearsal and training spaces. I want performers to feel en-couraged; given the support they need to try something new, particularly those who experience systemic inequality or othering, for whom the risk of trauma is greater. I don’t believe that many people produce their best work when they’re frightened (see my blog on bonding, needs and boss clowns.)
This comment was from Wednesday’s reflective roll, but we picked up on the idea in this morning’s check in session, that simply framing a game with applause at the start and end felt encouraging:
As a director I am always aware of how frightening it is for a performer to get up on stage in front of an audience, and I think it’s important to acknowledge that in rehearsal and training spaces. I want performers to feel en-couraged; given the support they need to try something new, particularly those who experience systemic inequality or othering, for whom the risk of trauma is greater. I don’t believe that many people produce their best work when they’re frightened (see my blog on bonding, needs and boss clowns.)
This comment was from Wednesday’s reflective roll, but we picked up on the idea in this morning’s check in session, that simply framing a game with applause at the start and end felt encouraging:
Different space…different vibe
Gaulier-style clown teacher: Why are you clapping? He’s not done anything funny yet!
Kitty: clap when performers come on
Reflective Roll note, 03/07/24
Gaulier-style clown teacher: Why are you clapping? He’s not done anything funny yet!
Kitty: clap when performers come on
Reflective Roll note, 03/07/24
Some people made bolder offers in the games, and a couple of people who hadn’t previously offered much verbally were more talkative. I realised that I was seeing some neurodivergent unmasking, as well as people feeling safe enough to take a risk. That makes me very proud and happy.
Material Covered:
Walking, with balances and stretches on counts added in, leading into One Moving at a Time, adapted from (Wright, 2006)
Dance Like Everybody’s Watching
Noises of Five Emotions game that I developed for Mark and the Marked, leading into Good, innit?
Saving the Show, adapted from (Davison, 2015)
Walking, with balances and stretches on counts added in, leading into One Moving at a Time, adapted from (Wright, 2006)
Dance Like Everybody’s Watching
Noises of Five Emotions game that I developed for Mark and the Marked, leading into Good, innit?
Saving the Show, adapted from (Davison, 2015)
Moment 1:
I decided not to film Dance Like Everybody’s Watching today- it doesn’t translate brilliantly to video, and I wanted the experience to be as unpressured as possible for everyone, just shared with the people in the space.
The dances were as beautiful and silly and personal as always. The act of dancing unashamedly to music you love, in front of other people, is so intimate that I couldn’t help feeling a rush of affection for everyone dancing this game.
One performer teared up in the middle of their dance, and said afterwards that they felt:
I decided not to film Dance Like Everybody’s Watching today- it doesn’t translate brilliantly to video, and I wanted the experience to be as unpressured as possible for everyone, just shared with the people in the space.
The dances were as beautiful and silly and personal as always. The act of dancing unashamedly to music you love, in front of other people, is so intimate that I couldn’t help feeling a rush of affection for everyone dancing this game.
One performer teared up in the middle of their dance, and said afterwards that they felt:
So many emotions- gratitude, connection, being witnessed
Journal extract from group discussion, 04/07/24
Journal extract from group discussion, 04/07/24
Someone described the feeling of being in the dance as:
Flutters of thinking, then back into flow
Journal extract from group discussion, 04/07/24
Journal extract from group discussion, 04/07/24
Other moments were happening for the audience. One performer found such contagious joy in hitting a pose on the strongest beat in a phrase, having missed it the first time round, that we cheered. We cheered again in excitement when someone adjusted their clothing:
Tucking a shirt in- the circus is here!
Letting the audience make their own show
Journal extract from group discussion, 04/07/24
Letting the audience make their own show
Journal extract from group discussion, 04/07/24
Other dances were less outwardly performed, but the performer drew the audience in by being completely in what they were doing; being interested, not interesting, as Avner the Eccentric would say (Eisenberg, 2020) . We concluded that:
Spectating is active- being in the watching of it, so not ‘waiting to perform’
Journal extract from group discussion, 04/07/24
Journal extract from group discussion, 04/07/24
Today we were joined in the studio by ‘Funmi Adewole, my internal examiner from DMU. She was brilliantly supportive in conversation, and a lovely generous audience member. One of my private joyful moments from today was seeing her grooving along in her seat to several of the Dance Like Everybody’s Watching tunes, while trying to stay unobtrusive at the side of the studio!
Moment 2:
We finished the intensive off with Saving the Show, and I think the synthesis of clowning and dance really came together here for these clown and comedy performers, as it has done for dancers in the past. I could see strands and flickers of work from earlier in the course being brought forward into these last solo improvisations.
In Nuala’s saving the show, the dance clearly represented a task to be done, while what she really wanted to do was to go and play in the curtains. We laughed both at her thwarted desire, and at her joy and play when she was finally allowed to follow it.
We finished the intensive off with Saving the Show, and I think the synthesis of clowning and dance really came together here for these clown and comedy performers, as it has done for dancers in the past. I could see strands and flickers of work from earlier in the course being brought forward into these last solo improvisations.
In Nuala’s saving the show, the dance clearly represented a task to be done, while what she really wanted to do was to go and play in the curtains. We laughed both at her thwarted desire, and at her joy and play when she was finally allowed to follow it.
VIDEO: Nuala Ryan saving the show
Moment 3
Hatty was equally delighted to be dancing as not-dancing, particularly once she hit upon the game of playing charades with the audience- a happy accident arising from someone misunderstanding her raised hand. As the game went on the two merged together to build a final, very enjoyable, punchline.
Hatty was equally delighted to be dancing as not-dancing, particularly once she hit upon the game of playing charades with the audience- a happy accident arising from someone misunderstanding her raised hand. As the game went on the two merged together to build a final, very enjoyable, punchline.
VIDEO: Hatty Ashton saving the show
Moment 4
Laura was utterly committed to the bizarre story she built through both the dancing and the saving, and so we were with her, regardless of whether or not it made any sense. Here the music prompted not so much a movement vocabulary but a mood. Why maths? Why survival skills? Why Disney? No idea, but it’s clearly very important.
Laura was utterly committed to the bizarre story she built through both the dancing and the saving, and so we were with her, regardless of whether or not it made any sense. Here the music prompted not so much a movement vocabulary but a mood. Why maths? Why survival skills? Why Disney? No idea, but it’s clearly very important.
VIDEO: Laura Edwards saving the show
We had a longer and more rambling reflection at the end of today, to wrap up the course and say goodbye. The conversation was also influenced by the fact that this was election day, and several people had to leave swiftly to get home in time to vote.
Several notes on the reflective roll picked up on Dance Like Everybody’s watching, and the idea of bubbling with pleasure, which I had introduced to describe what I was seeing from people as they danced:
Several notes on the reflective roll picked up on Dance Like Everybody’s watching, and the idea of bubbling with pleasure, which I had introduced to describe what I was seeing from people as they danced:
Moments of letting go of judgement felt great
Just connection- exploring this more- being brave with it
Everyone is really cool- When they’re dancing they show us how
Rules, smools- Go away, I’m busy!
Reflective Roll notes, 04/07/24
Just connection- exploring this more- being brave with it
Everyone is really cool- When they’re dancing they show us how
Rules, smools- Go away, I’m busy!
Reflective Roll notes, 04/07/24
We also circled back to how this work sits for dancers, and the unexpected seriousness of dance practice. I often think that my happiest role is as some kind of ambassador from one artform or working space to another- I love building bridges.
art making needs a play state?
The silliness of what we conventionally value, practice and enjoy
It is a surprise to me that dancers are so serious, how do you create without PLAY??!
Reflective Roll notes, 04/07/24
The silliness of what we conventionally value, practice and enjoy
It is a surprise to me that dancers are so serious, how do you create without PLAY??!
Reflective Roll notes, 04/07/24
The most beautiful and fucking joyful personal post it was followed up with an email from Nuala, who has kindly given me permission to quote from it. She said:
I think the course has reconnected me to 'play', but also done something much bigger for me. The course has made me realise how disconnected I am from my body and in some of the ways I use and feel about my body… I've really enjoyed learning to connect with others using my body, letting go of embarrassment and shame, the need to get it right... I feel more freed up in some way, it is something visceral that I can't quite put into words, but something I feel so very grateful for. Thank you so much for the many opportunities to express and be brave.
Email from Nuala Ryan, 07/07/24
Email from Nuala Ryan, 07/07/24
Bibliography
Davison, J. (2015) Clown training: a practical guide. New York: Palgrave Macmillan.
Eisenberg, A. (2020) ‘Eccentric Principles’. Available at: https://www.avnertheeccentric.com/eccentric_principles.php.
Wright, J. (2006) Why is that so funny? a practical exploration of physical comedy. London: Nick Hern Books.
Davison, J. (2015) Clown training: a practical guide. New York: Palgrave Macmillan.
Eisenberg, A. (2020) ‘Eccentric Principles’. Available at: https://www.avnertheeccentric.com/eccentric_principles.php.
Wright, J. (2006) Why is that so funny? a practical exploration of physical comedy. London: Nick Hern Books.
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