Joe Dieffenbacher - Clown - The Physical Comedian-Methuen Drama (2021)

Clown
i
About the Author
Figure 0.1 Author Joe

Dieffenbacher.
Photo credit: Matilda Dieffenbacher.
Joe Dieffenbacher is a teacher, director, actor, designer, and author known

for his theatre, circus, and cabaret work under the name nakupelle.
He was Physical Comedy Director for Taming of the Shrew (2016) at
Shakespeare’s Globe, London, and Regent’s Park Open Air Theatre’s
Production of Oliver! He worked as Physical Theater Director for Woman &
Scarecrow at RADA, London, and served as Circus Skills Director for the
Scottish National Opera’s, Ariadne auf Naxos. He was playwright, director,
and prop designer for Servant of Two Masters at Coastal Carolina University
and for numerous productions with the Dell’Arte Players, California.
As director of Clown Conservatory at Circus Centre-San Francisco, he
developed an extensive pedagogy combining Clown, Circus, Theatre,
Slapstick, and Commedia. His work was featured on ABC News: Clown
School: Day in the Life, and as part of the documentary, Bizarre, A Circus
Story.
Joe served as lead instructor for Clown, Physical Theatre, Mask
Performance, and Slapstick at Dell’Arte International, and has been a guest
teacher at the Belfast Community Circus, Teater Studion in Stockholm,
Wuqiao International Circus Festival, Shijiazhuang, China, and Actor’s
Conservatory Theatre in San Francisco. He’s worked with solo artists and
ii
ensembles all over the world developing original material for theater, circus,
cabaret, dance theatre, and outdoor spectacles.
As a clown and physical comedian, Joe has collaborated on six productions
with British pop sensations Take That, co-created sequences for the Closing
Ceremonies of the London 2012 Olympics and Paralympics, was a clown
and elephant jumper with the Ringling Bros. and Barnum & Bailey Circus,
and has collaborated on shows for Disney in California and Florida. His own
company, nakupelle, has featured in theater seasons, outdoor festivals,
circuses and cabarets in Europe, Asia, and North America.
www.joedieffenbacher.com
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iv
Clown
The Physical Comedian
Joe Dieffenbacher
v
METHUEN DRAMA
Bloomsbury Publishing Plc
50 Bedford Square, London, WC1B 3DP, UK
1385 Broadway, New York, NY 10018, USA
BLOOMSBURY, METHUEN DRAMA and the Methuen Drama logo are trademarks
of Bloomsbury Publishing Plc
First published in Great Britain 2021
Copyright © Joe Dieffenbacher, 2021
Joe Dieffenbacher has asserted his right under the Copyright, Designs and Patents Act, 1988, to be
identified as author of this work.
For legal purposes the Acknowledgments on pp. xvi–xvii constitute an extension of this copyright page.
Cover design: Eleanor Rose

Cover image: Dan Griffiths in an orange suit. Photo by Eric Gillet.
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by
any means, electronic or mechanical, including photocopying, recording, or any information storage
or retrieval system, without prior permission in writing from the publishers.
Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-party
websites referred to or in this book. All internet addresses given in this book were correct at the time
of going to press. The author and publisher regret any inconvenience caused if addresses have
changed or sites have ceased to exist, but can accept no responsibility for any such changes.
A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data
Names: Dieffenbacher, Joe, author.

Title: Clown : the physical comedian / Joe Dieffenbacher.
Description: London ; New York : Methuen Drama, 2021. | Includes bibliographical references and
index. | Summary: “Clown: The Physical Comedian is a detailed and comprehensive workbook for those
interested in the art of clowning and physical theatre, including actors, directors, improvisers, stand-up
comedians, circus artists, mask performers and devisers of new work. Offering an extensive and hugely
diverse compilation of tried-and-tested exercises and games, the book is for students, teachers and
practitioners to aid ensemble-building, character development, devising theatre, physicalising text and
vocalising movement, plus creating cabaret acts, clown routines and adding physical play to scripted
scenes. It offers advice on subjects such as developing presence onstage; increasing strength, flexibility
and physical expression; developing partner and trio relationships; understanding the power of the
mask; and working with an audience - in particular, turning a performance into a conversation with the
audience and increasing the actor’s ability to connect with a crowd. The exercises and teachings have
been developed in classrooms, workshops and theatres all over the world and the book is packed with
insights from the author, who has worked for over 35 years in a wide variety of venues, from intimate
performance spaces to large-scale sports stadiums”-- Provided by publisher. Identifiers:
LCCN 2020038546 (print) | LCCN 2020038547 (ebook) | ISBN 9781350143098 (hardback) |
ISBN 9781350141407 (paperback) | ISBN 9781350141414 (ebook) | ISBN 9781350141421 (epub)
Subjects: LCSH: Clowning--Handbooks, manuals, etc.
Classification: LCC PN1955 .D46 2021 (print) | LCC PN1955 (ebook) | DDC 791.3/3—dc23
LC record available at https://lccn.loc.gov/2020038546
LC ebook record available at https://lccn.loc.gov/2020038547
ISBN: HB: 978-1-3501-4309-8

PB: 978-1-3501-4140-7
ePDF: 978-1-3501-4141-4
eBook: 978-1-3501-4142-1
Typeset by RefineCatch Limited, Bungay, Suffolk
To find out more about our authors and books visit www.bloomsbury.com
and sign up for our newsletters.
vi
To my family, my first audience, and my biggest inspiration.
To my wife, who still finds me funny after all these years.
vii
Contents
List of Illustrations xiv

Acknowledgments xvi
Preface xviii
Introduction 1
The Search 1
The Word 2
The Look 2
The Energy 4
The Mask 5
The Fundamentals 9
Terms Used 9
Roles Played 11
Clown Essentials 12
Lesson Plans 13
Defining Clown 15
Challenges and Obstacles 19

Technique—Commitment—Tactics—Story 20
Entrances and Exits—Discovery Moments—Success and Failure 23
The Right Way 24
Failure as a Choice, Accident as an Opportunity 24
The Ever-Changing Game 25
The Director and the Clown 26
1 Hello: A Pharmacist, Helium Balloons, and

a Red Nose 29
Hello! 32
Birds and Bees 33
ix
x Contents
Group Loco Motion 34

Groups and Agreements 39
The Five Commandments 42
Wait, Watch, Jump, Play 43
2 Energy: The Telepathic Renaissance Fool 47

Walk This Way 49
Chase Me, Tag Me 50
The Solo and the Ensemble 52
Chair Games 54
Races 57
Relax 59
3 The Talking Body: Silence on the

Streets 63
Dance! 65
Playing With the Breath 67
Where’s My Center? 68
Sculptures 71
The Body Mask 72
Visualization 74
The Five Elements 76
Looking Out 80
4 Prop Play: The Prop Whisperer 87

Prop Around 89
Prop Improv 91
Prop Me 94
Prop and Status 96
5 Curiosity: Odd Fellows 101

Space Odyssey 104
Look, See, React 105
In and Out 109
Listen 111
Backstage Butting In 113
Contents xi
6 Clown Solos: Catching a Salad on Your

Face 119
Pass It Around 121
The Real Thing 124
The Participating Audience 128
7 Clown Duos: The Wet Towel Intervention 137

Remember Me 139
Pushers 140
Mind Leading the Blind 142
Followed 144
Match My Mood 148
The Big Wind Up 150
Surprise, Surprise 152
Embrace 154
8 Clown Trios: Boss, Negotiator, Fool 157

Notes on Playing the Boss 159
Notes on Playing the Negotiator and the Fool 160
Get Rhythm 161
Paper and Balloons 163
Thumbs 165
Follow Your Leader 166
Status Snapshots 167
Get Up 170
Top That 171
Down the Line 173
9 Clown Ensembles: Fractious Fun 181

All Together Now 182
Follow Along 184
Follow Me 186
Support Staff 188
Caretakers 191
Eh? Oh 193
xii Contents
Add On 195
Run, Stop, Relax 196
Revealing 198
Misfits and Master 199
Chips and Stick 201
The Ridiculous Ensemble 203
10 The Rules, the Script, the Game, the Play:

Welcome to the Playroom 207
The Evolution of a Game 208
Tail, Tag, Scene 211
Scene Tricks 213
Prop Journey 215
Blindfolded Experts 217
11 The Mask of the Clown 225

Makeup, Nose, Costume 225
The Painted Face 226
The Smallest Mask 229
The Body Mask 231
12 The Skillful Clown 235

The Dexterous Fool 235
Dance 236
Music 236
Mime/Movement 236
Tumbling 237
Partner Acrobatics 237
Slapstick 237
Skills, Tricks, Feats, and Stunts 240
Presentation 240
13 Getting Serious About Your Funny 243

Begin to Begin 243
Take Action 244
Get Serious 245
Contents xiii
Make Progress Through Play 245

Own It 245
Stay Open 246
Make It Real 246
Tune In 246
Find Ways to Connect 246
Take Notes 247
Accumulate 247
14 Devising for Clown and Physical Comedy 249

Nuts and Bolts 249
Narrative, Plot, Arc, Through Line 252
Ensemble Devising: Developing Group Entrées, Scenes, and
Routines 257
When It All Gets Too Confusing 260
Bibliography 263
Inspirations 267
Index 275
List of Illustrations
0.1 Author Joe Dieffenbacher ii

0.2 Joe Dieffenbacher in Icarus at the Office xiv
0.3 Clown and dolphin trainer Lars Adams 1
0.4 The author as Johnny Horrendezz 9
0.5 Paul Philion and friends 14
0.6 Clowns Tommy Toxic, Sydney Schwindt, Andrew Pulkrabek,
Kate Brehm, and Ariel Speedwagon prepare for a show at the
Clown Conservatory 16
0.7 Opera diva clown Crystal Philippi 19
0.8 Aeronautical Clown Carasue McClendon 22
1.1 Devin Shacket: Hello 28
1.2 The author’s early days as a clown 29
2.1 Jonathan Rex: Energy 46
2.2 The Abbotts of Unreason, Mark Renfrow (seated) and Joe
Dieffenbacher 47
3.1 Christian Schneider: The talking body 62
3.2 Joe Dieffenbacher as the janitor in nakupelle’s The Trap 64
4.1 Windy Wynazz: Prop play 86
4.2 Michael Hayes meets the singing chicken 87
5.1 Mary Hicks: Curiousity 100
5.2 Wayward showgirl clown Sophia Knox-Miller 101
6.1 Ariel Speedwagon: Clown solos 118
6.2 Joe Dieffenbacher at Fiestas del Pilar, Zaragoza, Spain
performing Bon Appetit! 119
7.1 Amica Hunter and David Cantor: Clown duos 136
7.2 A little bit off, Amica Hunter and David Cantor in Bella Culpa 137
8.1 Devin Shacket, Ariel Speedwagon, and Windy Wynazz:
Clown trios 156
8.2 Clown trio Rebecca Hammond, Katrina Kroetch, and Paul
Philion 157
9.1 Clown Ensembles: Amica Hunter, Carasue McClendon, Sophia
Knox-Miller, Kate Brehm, Sydney Schwindt,
xiv
List of Illustrations xv
Christian Schneider, Windy Wynazz, Barbara Gonzalez,

Tommy Toxic, Devin Shacket, Andrew Pulkrabek,
Rebecca Hammond, Paul Philion, Ariel Speedwagon,
Katrina Kroetch, Lars Adams, and David Cantor 180
9.2 Los Payasos Mendigos (the beggar clowns): Joe Dieffenbacher
(Yahoo), Rudi Galindo (Lupita), Cosmo Kuzmick (El
Excremente), and Dave Ferney (Guapo) 181
10.1 Kate Brehm: The rules, the script, the game, the play 206
10.2 Joe Dieffenbacher with clown, percussionist, and juggler
Fuman 207
11.1 Devin Shacket: The mask of the clown 224
11.2 Paul Philion 225
11.3 The nose is a mask 229
12.1 Sophia Knox-Miller: The skilful clown 234
12.2 Joe Dieffenbacher aka nakupelle in Bon Appetit! 235
12.3 The crowd in Ludwigsburg, Germany enjoying nakupelle’s
The Trap 238
13.1 Amica Hunter: Get serious about your funny 242
13.2 Lars Adams and Carasue McClendon go on safari 243
14.1 Los Payasos Mendigos: Devising for Clown and physical
comedy 248
14.2 Michael Hayes shows off the Emperor’s new hat 249
14.3 Windy Wynazz flexes her mop 252
14.4 Sophia Knox-Miller, the balloon meditation 261
Acknowledgments
I’m eternally grateful to the teachers who inspired, challenged, and befriended
me: John Creagh, Andrew Levitt, Tom Murphy, Randy Judkins, Bunni
Thompson, Richard Ficke, Ruthie Chaddock, Frosty Little, Lou Jacobs,
Donald Forrest, Bruce Marrs, Ralph Hall, Ronlin Foreman, Alex Ricca, Leira
Satloff, Carlo Mazzone-Clementi, Mike ‘Spike’ Foster, John Rudlin, and
Daniel Stein.
My various partners in Clown and Physical Theatre: Mark Renfrow and
Bob Schiele of the Abbotts of Unreason, Rudi Galindo, Cosmo Kuzmick, and
Dave Ferney of Los Payasos Mendigos, William Hall, Stephen Beuscher,
Xiaohong Weng, Danielle Connover, and Master Lu Yi in San Francisco.
To my agents, directors and the festival organizers who have helped me
spread the word (and pay my bills): Kent Huffman, Jo Burgess, Nicki Street,
Carla Kogelman, Prisca Maas, Hanna de Mink, Gert Rudolph, Edit
Hanscöck, Lieven Masschelein, Marc Romers, Ana Perez, Ana Lekube, Will
Chamberlain, Jan Klompen, Charlie Bicke, Marion Künster, Henk Schoute,
Barry Kendall, Kenny Ahern, Kim Gavin, and Caroline Byrne.
Many thanks to institutions I have trained and taught at, grateful that they
keep the fire burning: Ringling Bros. and Barnum & Bailey Clown College,
Clown Camp, the Dell’Arte School, Centre Sélavy, Clown Conservatory, Wuqiao
International Circus Festival, Cork Circus Factory, In Your Space Circus, Derry,
and the Belfast Community Circus. These places seek play in all its forms, from
the silly to the serious, the skillful to the anarchic. They remind students not to
lose their mischief, their imagination, their inventiveness, and their sense of
adventure. They support a vast underground network of artistic gypsies,
chameleons, builders, designers, dreamers, inventors, engineers, and healers.
Photos
Many of the photos in this book were taken by Eric Gillet of Shoot That
Klown. His images helped inspire me to write this book and to show the
variety of possibilities when it comes to the clown’s ”mask.”
xvi
Acknowledgments xvii
A Special Thanks
To Anna Brewer, Meredith Benson, Paula Devine, and the staff at Bloomsbury
who helped me develop and clarify the structure of this book.
To the staff and students at the Dell’Arte School, Blue Lake, California,
and Clown Conservatory at Circus Center-San Francisco where I worked
for a number of years. They allowed me to experiment, challenge, and play
with them and helped me to articulate so much of what is in this book. Much
love and gratitude to them all!
Extra special thanks to Jane Hill, Bobbi Ricca, Joan Schirle, and Michael
Fields at Dell’Arte, who took a chance on me in my early years of teaching,
Ayla Agarwal, Katie Whitcraft, Erin Brothers, and Paoli Lacy who supported
my work at Clown Conservatory, Nathaniel Justiniano who always got me
thinking, and the best associate director and friend a clown could ever have,
Dan Griffiths, a master teacher and wonderfully mischievous human being!
Preface
I’ve been performing as a clown and physical comedian for over thirty years.
I’ve played in just about every kind of venue, and for every kind of audience
imaginable: from house parties to nightclubs, intimate performances in
black box theatres, to large crowds on the plazas of Europe, in 800-seat
theaters for highbrow audiences, to European style one-ring circuses and
three-ring American extravaganzas. I’ve performed as a clown at pop
concerts at Radio City Music Hall and Wembley Stadium, as well as the
London 2012 Olympics and Paralympics closing ceremonies. I learned
valuable lessons from playing in each venue and the demands it made on me
as a performer.
Over the years—out of curiosity or necessity—I’ve developed skills and
acquired experience in four areas of theater: actor, director, teacher and
Figure 0.2 Joe

Dieffenbacher in
Icarus at the
Office. Photo credit:
Matilda
Dieffenbacher.
xviii
Preface xix
designer. Because of this, I look at devised work and scripted plays from four
different points of view: as an actor, I know the real struggles a working
professional goes through when creating new work, and what it feels like
presenting that to an audience for the first time. As a director, I understand
how to shape devised material into a fully realized performance. As a teacher,
I search for ways to translate what I learn from performing into exercises
that will teach clown and physical comedy. As a designer, I see the power of
the active use of props, sets and scenic elements in telling a story.
This book arose out of a desire to translate this wide-ranging experience
into teaching clown and physical comedy. The problem when I sat down to
write it was translating all that into a method. What’s more, I was trying to
create a method to teach something that openly thumbs its nose at methods!
Even more frustrating, my own brain—conditioned over many years to
think like a clown—constantly teased, challenged, and balked at my attempts
to create a well-ordered approach to teaching clowning.
In my experience as a teacher, there is a certain amount of chaos inherent—
and necessary—in clowning. Anyone teaching it must be comfortable with
that and do their best to navigate between order and disorder, method and
madness. The games and exercises in this book, and the text aiming to provide
context, will help guide teacher, student and working professional, down this
irregular road.
When I was director of the Clown Conservatory at Circus Center-San
Francisco, I had to create a pedagogy that took the students on a 21-week
journey through the world of clown and physical comedy. Because I was in
constant conversation with the students, problem-solving, experimenting
and evolving our understanding of the process, I saw myself as a collaborator,
not someone standing outside the work and dictating a method. This
collaborative approach is emphasized throughout this book.
I don’t expect a student to get an exercise “right.” I offer them a somewhat
open format because I’m curious to see how they interpret my instructions.
This makes the classwork more of a partnership between teacher and student
rather than a memorization exercise. The games are meant to literally, “keep
things in play.” This is when true learning happens: the student realizes and
embodies the objective of an exercise in the midst of their play, as well as
discovering their own creative process. This is crucial to devised work: it’s
not just a matter of what you create but how you do it. Each player must
explore and grapple with their own strengths and weaknesses, good and bad
habits, how they deal with obstacles inside their head and those placed in
front of them. Many devised clown pieces are elaborations of this very
xx Preface
process transformed into performance material, so it’s crucial that players

understand the alchemy that is happening as they attempt to translate class
work into stage play.
Teaching requires me to engage with each student where we both learn to
listen to each other mentally, emotionally and physically; it’s the same
relationship the clown tries to create with the audience. Because of that
listening, I noticed that the same problems were reoccurring, problems
related to translating what students discovered in the classroom, to how it
played for an audience. Rather than teach them traditional clown gags, or
use games designed for actors, I invented variations on existing exercises
drawing from theater, improv, and children’s games, as well as creating
new ones focusing on problems that were relevant to clown and physical
comedy. I wanted to combine the traditional apprenticeship model of
teaching—learning from someone who knows the real struggles a working
professional goes through—with insights gained from years of teaching in a
classroom setting.
This book doesn’t go into a critical analysis of the clown, nor their role in
history or various cultures. This is well covered in other books (see
bibliography). While I feel the history of clowning is an important study, I
also feel that to truly comprehend the art form, one must get on their feet
and play. This deeper, embodied understanding of the clown is what I hope
players will achieve via the discussions, games, and exercises in this book.
My desire in writing Clown: The Physical Comedian is to offer the teacher,
deviser, and performer ways of delivering practical information to students
in the classroom, or partners in the rehearsal studio, while maintaining a
healthy sense of mischief.
Some games and exercises have multiple variations. These can be
expanded upon to create a scripted scene which retains the elements of a
game (see Section 10: The Rules, the Script, the Game, the Play). This reflects
my own process as a teacher: when I found or invented a new game, I would
continually reimagine it in order to expand its possibilities. This same
process happens when devising new material: you take a few ideas and
decide on some rules, then you find variations on those rules in order to
expand the potential for play, develop scenes, and deepen the connection
with the audience.
It’s my belief that no one can truly understand the significance of clowns—
and why they are important figures in different cultures throughout
history—until they rediscover and develop their own playful mind. They
won’t fully grasp the clown’s reputation as a nonconformist, provocateur,
Preface xxi
shapeshifter, trickster and healer, until they challenge—and make fun of—
their own habits, clichés, weaknesses, and prejudices, as well as those of the
world around them. And, most importantly, take their discoveries and strike
up a conversation with the audience in the form of a performance for them.
It’s a journey that has many twists and turns, many obstacles and many joys.
I hope this book is a good friend and a knowledgeable guide.
Luck and laughter,
Joe
Introduction
The Search
I want to start by talking about the clown’s look, the “mask” that is often
associated with this comic type—the costume, makeup, and red nose. My
first forays into clowning started with this mask. Like most people I
associated the word “clown” with a particular look.
Do an online image search for clowns and you’ll see costumes and makeup
styles that we’ve come to associate with this comic type. After you scroll past
the scary clowns, you’ll find people wearing red, orange, or multi-colored
Figure
0.3 Clown and
dolphin trainer
Lars Adams.
Photo credit: Eric
Gillet/Shoot That
Klown.
1
2 Clown: The Physical Comedian
afro wigs, exaggerated face paint, frilly collars, oversized shoes, and brightly
colored, pajama-like, one-piece costumes. Some pictures feature variations
on the makeup and costume of Bozo, a popular children’s entertainer who
had his own TV show in America in the 1950s. Other images show people
made up in the Ringling Bros. and Barnum & Bailey three-ring circus clown
style. You have to scroll down quite a way to find anything other than scary
clown, afro-wig-pajama-clown, or circus clown.
The Word
The word clown was initially used to describe a simpleton, usually someone
from the countryside; clown was another word for a “rustic fool.” Then it
became a generic name for a type of character in the early commedia dell’arte
(zanni). British actors in the seventeenth century—inspired by the
commedia—called him “the clown” and he became a central figure in the
British harlequinade of that era. In early plays he was still a country bumpkin,
similar to the peasant fools in Shakespeare’s works; a buffoon dressed in the
ragged clothes of the lower classes. In time, he became a character in his own
right. The Brits named him “Clown.”
So, the word originally described a person who was foolish, incompetent,
simple. It then became a descriptive term for a type of character—the
unsophisticated country bumpkin—and then the name of the character
himself, a satirist who used physical comedy, exaggeration, and ridicule to
mock fashion, culture, politics, and society. I find it fascinating how the
clown turned that around: first they were ridiculed by society for their
incompetence, then they ridiculed society for its pretenses, urbanity, polity,
and customs.
The Look
In the beginning there was no set costume for the clown, no specific makeup.
The “definitive clown look” came about because an actor playing the clown
dressed himself in a certain way, his portrayal became popular, and everyone
agreed that this was how a clown dressed. That is, until another actor playing
the clown came along with a different look and made it popular. Everyone
copied this look and it became the new definitive look to represent the
clown.
Introduction 3
Different eras had different ways of defining the clown by their look: in
the early 1600s it was the checkered costume and leather mask of Arlecchino,
a zanni from the Italian commedia dell’arte. In the early 1800s, the brightly
colored, frilly outfit of the English clown Joseph Grimaldi (whose whitened
face with red triangles on the cheeks and thickly painted black eyebrows,
was perhaps the biggest influence on the clown look in the West). In the early
1900s it was the French clown Albert Fratellini’s red-nosed Auguste (the
second biggest influence). The American hobo or tramp clown was
popularized by Emmet Kelly and Otto Griebling of the Ringling Bros. and
Barnum & Bailey Circus, along with Lou Jacobs’ exaggerated Auguste, with a
rounded cone fitted to the top of his head which enlarged his face, giving
him a bigger “canvas” to paint on his makeup. In the 1980s and 1990s,
American clowns such as Bill Irwin, Avner the Eccentric, and Russian clown
Slava Polunin, all evolved different looks for their clowns. The first two kept
it simple, Slava went for a more exaggerated look.
Both European and American circuses developed a number of variations
on the clown’s costume, makeup and nose. There was the Classic Whiteface, an
elegant, glamorous clown, sharply dressed, his costume often covered with
sequins. The Whiteface clown was similar to the Classic Whiteface, but less
ostentatious, merrier, more animated. There was the Grotesque Whiteface, with
painted features that were eccentric and exaggerated. There were the Glitter
Clowns who wore a costume and makeup that were more ornamental than
expressive. The lower half of the face of the Tramp Clown was a sooty black,
with white around the eyes and mouth, and a round flesh-colored nose whose
tip was a soft red, his costume a ragged mess. The look of the Auguste Clown
was a mixture of Whiteface and Tramp: not as miserable looking as the Tramp
Clown, but rougher than the Whiteface. The Auguste style popularized the red
nose and ill-fitting, mismatched, costume bits: too-large neckties paired with
tiny hats, big, long shoes below baggy pants. The look of the Contra Auguste
was a mix of the Auguste and the Whiteface, the visual equivalent of neither
being the boss nor the fool but somewhere in between. As clowns moved into
theaters, nightclubs and hospitals, the Character Clown and Clown Light were
created. They cherrypicked ideas from the other clown looks but toned them
down, using a lighter base makeup with simple accents around the mouth and
eyes, or no makeup at all, just a red nose, and costumes that were enhanced
versions of everyday clothes. Russian clowning, which influenced such artists
as Slava Polunin, Licedei, Aga-Boom and the KGB Clowns, created a unique
evolution of the clown look, freely mixing Whiteface, Auguste, Tramp and
Character makeups to create a mash up of costume elements.
The Energy
In my early years as a performer, I explored many of these popular clown
looks. But as I did more research into the role of the clown in societies and
cultures the world over, I saw that there was much more to them than a
particular costume and makeup style; they had a larger, more important role
that went beyond the mask. The popular look of the clown (in modern,
Western societies) began to bother me: I wanted to know what a clown was
underneath the costume. I felt trapped by the mask.
But what was a clown without their costume, makeup and red nose? How
would you know someone was a “real clown” unless they dressed like one?
But wasn’t a costume just “an assortment of clothes worn by an actor or
performer for a particular role?” So, was clown just a role? But some of my
teachers talked about finding my personal clown. Others said clown is not a
noun but a verb: a word used to describe an action, to clown. You can’t be a
clown, you can only, clown.
Because of my research, I began to question why I needed a particular
look to define me as a clown. As I explored other forms of theater and
comedy such as satire, agit-prop, silent film-style slapstick, sketch comedy,
improv, stand up, monologues, object theater and puppetry, I began to shed
the layers. Off came the makeup, then the nose, then the costume. I did away
with the look but, I realized, the manner and the mindset of the clown still
informed all my work. So, without the mask, how would I define the clown?
I came to the conclusion that the clown is energy. This energy is set in
motion by an overwhelming curiosity, causing a person to engage with their
environment in an inquisitive, immersive, playful way. This energy inspires
them to want to relate, engage, and connect with, everything around them.
It’s the energy of kids who discover, explore and reimagine their world
through play (one of the reasons why clowns are often likened to children).
Adults may dismiss play as frivolous, time wasting, but it’s one of the most
useful and important ways to truly understand the world. The playful mind
is perhaps the best way to engage with the environment, enabling a person
not only to experience what’s in it and how it affects them mentally,
emotionally, physically and socially, but also how they might contribute to
the world and expand on what it offers them.
“Playful” is a good way to describe the clown’s mindset and why there is a
greater interest in the clown from modern theater makers and devisers. A
mind closed to play sees a cardboard box as functional, something to put an
object into, mail it, transport it or store it. But to the playful mind, it’s those
Introduction 5
things and more: a hat, a car, a castle, a spaceship, a rabbit hole . . . When
children play (and adults rediscover this side of themselves through
clowning), their energy and enthusiasm is concentrated, focused on what
they’re doing and the world they’re creating. This is what kids strive for: play
as a way to investigate, perceive and gain an understanding of the world. It’s
not a distraction; they don’t do it just to “stay out of mommy’s way,” they
don’t indulge themselves in play now and then; their playful mind is always
active. One could say that a child knows no other way to experience their
environment but through play. They learn to express what’s going on in their
heads and hearts and try to make sense of the world around them, not in an
analytical or theoretical way, but through active engagement. They discover
new paths, learn to navigate them on their own or with friends, and in the
process, develop their independence, self-confidence and potential. As they
interact with the things in their environment—friends, strangers, parents,
teachers, toys, objects, machinery, walls, floors, furniture, etc.—they learn
about limits and possibilities, who to trust and who to avoid, what can be
climbed, thrown, eaten, jumped over, what stinks, breaks easily, what can be
wrestled with, bounced, or thrown against a wall, how to catch it when it
comes back to you, how to avoid looking dumb when you miss the catch.
Their spirit discovers what’s possible with their body, and together they form
relationships with the physical world around them. This is the same
experience adults have when they interact with the world through play, and
it is through play that they develop a true understanding of clowning.
The Mask
Through my explorations with makeup, red noses and various costumes, and
later, my work with the neutral mask, full face character masks and the half
masks of the commedia dell’arte, I began to see the clown’s look as a full body
mask that aided an artist in telling a story or engaging with the audience (see
Section 3: The Talking Body). The clown look that I’d come to see as an
obstacle, I now understood as a visual aid, used like an Elizabethan court
dress or a three-piece suit to establish a setting, a world (see Section 11: The
Mask of the Clown). When I removed this mask, what I had left was an
inquisitive, irrepressible energy that desired to constantly transform itself; it
wanted to be a king, a juggler, a housemaid, a policeman, a chef, a diva, an
airplane, a lamp post, a prince of Denmark . . . This energy could play any
role, go off in any direction! This is why it kept turning up in my work and
one of the reasons it intrigued me: good clowning has an edginess that’s
captivating, the audience always sensing that the clown’s energy may erupt
and the play could become chaotic, absurd, lyrical, grotesque, poetic, dark,
magical. Why is this? Why is the clown’s energy such a potentially disruptive
force?
Stirred up by a playful mind, this energy recognizes no limits, sees all
rules as malleable, all boundaries as porous. This can get the clown into
trouble: they will readily jump from role to role, reality to reality, in the same
scene. This annoys directors. Clowns will freely mix methods and styles. This
pisses off purists. But unlike the medieval jester, the confrontational stand-
up comic, or the lampooning satirist, the clown doesn’t deliberately disobey
a rule or push the button they’re not supposed to push, it’s just that their
curiosity and their need to engage with the world are so powerful they can’t
help themselves! They’re naive about the very idea of rules. “Why do we need
them? If we really want to find out what’s possible, we should just dive in
and play!” Looked at this way, the clown is less an agitated rebel, more of an
over-eager explorer.
Once I was able to fully comprehend the clown as energy and how it
manifested itself in all the work I created, I let it take over. Whether in the
classroom, rehearsal studio or in performance, approaching creative work
with the mind of the clown—where anything is possible and everything has
potential—opened me up to explore a whole range of skills, combine various
styles of theater, play with eccentric ideas and connect things that I never
thought to connect before. Could we put a shadow puppet play in a
production of Death of a Salesman? Could Hamlet do a backflip during his
famous soliloquy? The clown mind says “Let’s try it! If the audience says
yes, we’ll keep it. If not, we’ll take it out or try something else. Maybe he
could tap dance.”
This is one of the reasons why playwrights also have a problem with
clowns: clowns see clearly that the world created onstage is make-believe—a
big lie—and they may decide to point this out to the audience at any moment.
In fact, they find it hard to resist pointing it out. A clown can play with all the
focus and intensity of the most skillful thespian, have the audience enthralled
by their performance, then suddenly break the illusion, turn to the crowd
and say, “Isn’t this a bit absurd? But we’re enjoying ourselves, so let’s carry on.”
The playful mind isn’t simply trying to undermine the seriousness of a
performance but seeking other possibilities within it by acknowledging
other realities. They see a script as an offer to explore and engage with the
world the writer has created, to use it as a vehicle that takes everyone—
Introduction 7
players, playwright, director, designers, and audience—on a journey. This

approach acknowledges the creative potential of everyone involved in a
production, their various talents, any performance skills they might have
(the usual ones such as playing an instrument, acting, singing or dancing, as
well as more eccentric skills such as playing the saw, doing a sloppy front flip,
Tibetan throat singing . . .). It can lead to the development of performance
material that is unique to each individual or ensemble. It encourages a more
thoughtful and provocative approach to the creative process. This is one of
the reasons those devising new work often turn to clown training to help
develop their plays: they want to learn to think outside the box, explore a
greater range of possibilities, strengthen the ensemble, as well as surprise
themselves and their audience.
Because this clown energy enters into everything with a spirit of curiosity
and play, an audience is quicker to relate to and empathize with a clown. The
crowd is reminded of the way they used to experience the world as kids and
so they connect with the clown, playful mind to playful mind. United in this
way, the clown gains the audience’s trust, and this trust leads to a greater
involvement with what’s happening on stage, in the ring or on the screen, no
matter how eccentric, dark, risky, or absurd. And because humor and wonder
are inherent in the clown’s approach, what is created is filled with the spirit
of play, participation, and empathy.
So how would a person rediscover and develop this playful mind, this
clown energy? How would they combine that with learning techniques and
various performance skills? What sort of games or exercises would aid them
in discovering the curiosity, the exuberance, the physical and visual humor
that are the hallmarks of clowning? That’s what this book is all about.
The Fundamentals
Figure 0.4 The author

as Johnny Horrendezz.
Photo credit: Eric Gillet/
Shoot That Klown.
Terms Used
The book is divided into sections. At the start of each, I talk about my own
experience as it relates to the various sections within (Ensemble Building,
Prop Play, Devising, etc.), and why I think each section is necessary to
understanding and progressing towards a greater comprehension of clown
and physical comedy.
9
Games teach the fundamentals of clowning in a less structured way and

involve the participation of all the players. Exercises are focused on specific
aspects of clown and physical comedy and involve some of the players
onstage while others observe. The first few games in each section introduce
the main theme in a playful way. The exercises that follow explore the theme
in more detail, requiring more of participants mentally, emotionally, and
physically.
I use the words student, actor, performer, and participant, but mainly the
term player. This is less a role and more a word to describe “a person at play.” I
sometimes use teacher but prefer adviser: I don’t want to risk creating a status
relationship with the student that might inhibit them (see comments below),
so I prefer to advise or suggest a possible course of action to a student rather
than dictate it to them. I alternate the use of the pronouns he, she, and they, and
use you when addressing the reader, or the student when side coaching. The
word partner can refer to a person, the ensemble, someone in the audience (or
the audience as a whole), but also inanimate objects such as a chair, costume
elements such as a coat or hat, or any part of the performance space such as the
floor or walls. For a clown, everything in the room is a potential partner.
The name at the start of each game or exercise is an umbrella term for the
Variations that follow. Under the name I describe the focus of a game or
exercise and ways to use it. I also list any props that are needed. Under room
prep, I suggest ways to prepare the space and address any safety issues,
physical prep suggests ways of warming up for more vigorous games. Advice
gives further insights into a game or exercise and can be used as side coaching
by the adviser, or by the players doing an exercise on their own. Notes give
further information about some aspect of a game or exercise. Some Notes
can be used as side coaching.
The sections themselves follow a progression, from ensemble building
games to those that encourage physical complicity, physical expressiveness,
and how a player uses the performing space to reveal more about the clown
and their world. I then continue with exercises to help the players develop
material through the use of props. Curiosity is one of the fundamental traits
of clowns, so there are exercises for inspiring a more inquisitive mind. This
is followed by solo, duo, trio, and ensemble exercises that help the players
create dynamic partnerships, as well as generate performance material. I
close with sections on devising for clown and physical comedy that bring
together all the previous sections.
In traditional circus clowning, the members of a trio were called Whiteface
(highest status), Contra Auguste (middle status), and Auguste (lowest status).
The Fundamentals 11
A shorthand for this is #1, #2, #3. I use the terms, boss, negotiator, and fool. In
duos, I use boss and fool. These are descriptive terms, but I’ll sometimes use
them to identify a role, for example, the Boss.
Sources for the games, exercises and variations are listed at the back of the
book under Inspirations. There is also a bibliography for further reading.
Roles Played
In many orthodox learning situations, the teacher is seen as separate from
the students. They’re treated with a respect—and in some instances, a
reverence—that can create a distance between student and teacher. While
this respect is important—a teacher’s experience should be acknowledged
and deferred to—both teacher and student shouldn’t let their roles get in the
way of a shared learning experience. When teaching clown and physical
comedy—especially when working with students devising new work—I feel
the teacher is a collaborator first and foremost. They join in the games,
participate in the exercises, improvise, explore, succeed and fail, along with
everyone else. The main difference between teacher and student is the
former’s greater knowledge and experience. They’re familiar with the rules
and objectives of the exercises they introduce, how to use them to guide
students and help them create their own work. But the teacher stays open
to the group process, accepting that things will not always go according to
plan, and willing to get their hands dirty when the “pudding turns to poop.”
One of the most important roles the adviser can play is that of the Boss
Clown. They represent the authority figure in the group, reminding the
players to abide by the rules. I picked up this term from my time with the
Ringling Bros. and Barnum & Bailey Circus: we called the leader of clown
alley (the place where we got dressed and hung out during the show), Boss
Clown. I love the contradiction: Boss usually refers to the person who knows
the rules, tells others what to do—they’re the smart one. But the word Clown
signifies the opposite of that, so putting the two together creates a useful
contradiction.
The adviser enacts the role of the Boss Clown in an insistent but playful
way to such a degree that sometimes their side coaching comes across as a
performance in itself. The adviser starts to blur the conventional
interpretation of teacher/leader, exercise/performance, until everyone
becomes a player, constantly exploring variations in their roles, their status,
different ways of learning and devising. Like clowns, the players realize and
develop games within games, introduce roles that are malleable. No one is
quite sure who they are or what their role requires of them, so they decide
moment-to-moment how they’ll play (the boss can easily become the fool, a
low-status character can use insights gained from serving a master to achieve
a higher status, a player can be a traffic cop then suddenly become a traffic
light). This may sound like it will lead to chaos and anarchy—and at times it
does—but the players are constantly reminded to adhere to the rules in
order to engage with the tension between discipline and freedom,
improvisation and tightly choreographed routines. The best clown work
lives on the edge between control and subversion, the audience entranced
because they never know when things will fall apart, or suddenly coalesce,
everything coming together in a giddy harmony. As they work this way—
seeing their roles toyed with and reimagined—students begin to see that
everything in the clown’s world is in flux and always in play. The clown
becomes the ultimate agent of creation and transformation.
The adviser’s role of Boss Clown, the mutability of roles within the
classroom and onstage, and the playing of games within games, are not
revealed right away. The adviser stays open to improvising with the players
(including altering rules now and then), in the hope that they will realize that
she is playing the role of Boss Clown, and that the game or exercise is also a
staged performance (one that is open to change). The adviser and the players
work together to let go of ego-based interaction, they propose ideas and
decide on rules but don’t cling to anything (though they may fight for a rule
or an idea). If something more intriguing comes up or, if in conversation
with the audience, the players discover they prefer one thing to another,
they’ll go with that. But they don’t pander; they suggest, converse, debate, and
at times argue with their audience (and each other). The players offer their
rules at the outset, but if at any point they get in the way of connecting with
the audience and evolving the game (or their performance), the rules can be
altered. Ultimately, the players seek to communicate, relate and connect.
Clown Essentials
Everything done in class aims to encourage and develop five Clown
Essentials:
1 Deep and unlimited curiosity.
2 A desire to engage with the world in a provocative way.
The Fundamentals 13
3 Spontaneity and the welcoming of accidents.

4 Developing the playful mind, a way of interacting with the world that
is mischievous, joyful, and open to learn.
5 Keeping a performance flexible, allowing the players to engage with
the audience in an ongoing conversation.
Lesson Plans
I’ve used these games and exercises with a diverse range of people, all over
the world, working in all sorts of settings and theater styles: one and three
ring circuses, musical theater, cabaret, street theater, Shakespeare, commedia
dell’arte, dance theater, hospital clowning, large-scale spectacle shows, puppet
theater, Renaissance festivals, clown theater, opera, naturalistic theater, mask
performance, and and improv. Some of the players have known each other
for months, others have only met that day. I’ve worked with tight ensembles
who’ve collaborated for years, and others struggling to find ways to connect.
I’ve done three-day workshops, five-week intensives, and two-year courses
exploring physical theater styles. As a teacher you may find yourself in similar
situations. How do you know which exercises are best for a particular group?
I’d suggest starting with ensemble building games, letting participants get
acquainted in playful ways, engaging with one another without having to
think about learning concepts right away (see Section 1: Hello and Section 2:
Energy). These games help build trust amongst the players making it easier
for them to be more expressive and engaged with one another, and
subsequently, the audience.
Exercises that involve physical contact and the handling of objects (see
Section 4: Prop Play) are good to use early in the process as they focus the
players’ attention outside of themselves, get them engaging with each other
and the world around them. For longer sessions, offer more technique,
especially exercises that develop physical expression (see Section 3: The
Talking Body). These should be practiced often so students are able to
embody the skills and use them in the classroom.
Mix exercises where part of the class is sitting and observing (Sections
4–8), with games that get everyone on their feet and playing physically (all
sections start with group games, but they’re emphasized in Sections 1 and 2).
This keeps their bodies warmed up and their minds flexible.
Setting a time restriction on some exercises is useful: the players can get
lost jumping from one idea to the next, never committing to one thing and
Figure 0.5 Paul Philion

and friends. Photo credit:
Eric Gillet/Shoot That Klown.
The Fundamentals 15
developing it. A dispassionate dictator like the clock has no opinion or

critique to offer, it simply says, “your time is up.” It teaches the players the
value of self-editing and using their stage time wisely.
For some exercises, allow the players to explore on their own first, in
order to become familiar with the rules and objectives, without the distracting
pressure of improvising for others right away.
Get them working with partners as soon as possible so they associate play
with relating and discover what collaborating and competing with others
brings out of them. It makes them aware of the importance of using each
other as foils, adversaries, and nurturers, as well as mirrors.
As participants understand the rules and get comfortable with each other,
repeat games and exercises that focus on what the ensemble is exploring or
needs to improve on. Repetition will help expand on any discoveries made
in their first experiences with a game or exercise, give them insights into
their own creative process, to partnering with others, and to ways of relating
with an audience.
The games in each section can be used not only by teachers, but also by
students sharing them with each other. Some exercises require a deeper
understanding of clowning and performance, but even these can be explored
by those new to the work; they may not get as much out of them as they
would if they had a teacher’s guidance, but they will gain from the
experimentation and exploration. And the more familiar they get with an
exercise, the more they will gain from it in when they explore it with an
experienced teacher.
Experiment! Add new rules, develop new variations, bend a game to serve
a concept, technique, or partner play. If played with commitment, the games
and exercises should feel no different from a performance: the players carry
the spirit of genuine play from the classroom right onto the stage.
Defining Clown
My training and experience has been influenced mostly by Western forms of
clowning: European one-ring circus, the Ringling Bros. and Barnum &
Bailey three-ring circus, street theater, the work of Jacques Lecoq and Philipe
Gaulier, the silent film comedians and those they influenced during the so-
called Golden Age of TV comedy in America (Sid Caesar, Imogen Coca,
Bob Hope, Red Skelton, Dick Van Dyke, Lucille Ball, Carol Burnett, Tim
Conway, etc.), British comedians Tommy Cooper, the members of the Monty
Figure 0.6 Clowns Tommy Toxic, Sydney Schwindt, Andrew Pulkrabek,

Kate Brehm, and Ariel Speedwagon, prepare for a show at the Clown
Conservatory. Photo credit: Devin Shacket.
Python troupe, Steve Coogan and Rowan Atkinson, as well as stand-up

comics such as Lenny Bruce, George Carlin, Richard Pryor, and Bill Hicks. I
also gained insights from my studies on the Native American Trickster,
aboriginal shamanism, the teachings of Zen masters, the carnival tradition
of various cultures worldwide, the Medieval Feast of Fools, and the Russian
philosopher Mikhail Bakhtin.
There is not enough space in this book to cover different clown traditions
from around the world, their masks, and their styles of performance, but in
my experience, the essentials are the same. I’ve taught, directed and
performed all over the world and much of what I do translates well: clown
and physical comedy are universal, and what’s in this book is applicable to
most any style of clowning and theater performance.
So, what defines a clown? And what is the difference between a clown and
a comedian? As stated in the Introduction, some define the clown as a
The Fundamentals 17
performer who wears a red nose, makeup, and a garish costume. They do
silly things, their antics are childish, their performances cartoon-like. But
not all clowns perform in such a broad way: they can be understated, poetic.
Some work without a nose, some perform in a three-piece suit. But if both
clowns and comedians use humor as their main method of connecting with
the audience, what’s the difference between them? In my view, they approach
devising and performing with different sets of tools.
A comedian works with the spoken word, their act is about their cleverness
with ideas and how they express them in the form of jokes. Their humor is
mostly verbal.
A clown is physical and visual. They may use words, but these are just
another tool in their bag which they might utilize to engage with the
audience. A clown will use their body more than a comedian; they’ll work
with props, employ visual jokes. Clowns play openly with the audience,
engage them in their performance in a more direct way. A comedian may
have some crowd interaction, use props and get physical, but it’s more about
getting the crowd to appreciate the comedian’s verbal wit, the clever way they
juxtapose different ideas, stimulate the mind with the spoken word.
Most of the exercises in this book eschew words in favor of developing a
player’s ability to express themselves physically and visually (visual play
includes the use of props, costumes and scenic elements such as furniture,
set pieces, doors, etc.). There are untapped riches of imaginative, comic play
in the physical and visual worlds which, in my experience, most students
rarely utilize. So, learning to be a comedian—while difficult—is easier than
learning to clown because we’re used to communicating with words. When
we converse, we rarely look at what someone is saying with their so-called
“body language” nor do we use objects to make a point or elaborate a thought
in daily conversation. And rarely do we speak in a direct or forceful way: our
use of words is chatty, unfocused; all sound, but little force or fury. This
informal “training” in using words in a casual, reflexive way, teaches habits
that don’t serve us when it comes to clowning. When the clown wants to go
on a mad flight into the surreal or the absurd, most of us lack the ability to
express that leap. That’s why clown training is important: it offers the
opportunity to develop the imaginative, unconventional mind, and to find
greater possibilities in the physical, the visual, and the verbal.
One of the objectives of this book is to remind the players that the world
uses different ways of communicating to us but because we’re so used to
listening only to words, we’re unable to “hear” with our eyes, or realize the
potential of something through touch or sound alone. The physical and the
visual are distinct languages and learning to hear them, respond to them,
and use them in conversation, requires the same concentrated practice as
learning Spanish or German. If a person working in the style of clown
doesn’t learn this idiom, they’re cutting themselves off from a vast playground
filled with rich comic and dramatic material. Stand-up comedy is a
demanding and brilliant art form, but so much of it happens—is developed
and shaped—in a person’s head and expressed in words. What I love about
clown and physical comedy is its willingness to utilize anything and
everything in its play with the audience, in its efforts to open up lines of
communication, create relationships and tell stories. It approaches devising
and performing with the mindset that everything has potential – objects,
colors, shapes, movement, words. For this reason, I believe it’s the most
inclusive and expansive of all the performing arts.
Because of this scope, I struggle with the popular notion that everyone
has a unique, inner or personal clown. In my experience, it risks turning the
clowning a student first uncovers into something precious. They become
protective of it, they’ll say “My clown wouldn’t do that.” Or they become
nettled, even resentful, when asked to try something different; they’ll say
they’ve discovered their personal clown, they don’t need to keep looking.
Nor do I believe the clown has anything to do with rediscovering the inner
child: it shouldn’t lead to a regressed, infantile way of playing. The clown may
be child-like but never childish. What I find more fascinating is the adult—
with all their experience, emotional depth and power—playing with the
openness and abandon of a child, honestly responding to the world around
them and expressing that physically and visually. It’s this combination of the
incredulous and the unguarded, with the perceptive and sagacious, that
makes the adult clown a more compelling figure.
The clown sees no limits, they adhere to no set role. They approach
creative work with the mindset that anything is possible, which encourages
them to explore a whole range of skills, lets their imagination roam, inspires
them to play with eccentric ideas and the creation of material that is unique
to each player or ensemble. It encourages a greater responsibility to one’s art
and urges the players to be more thoughtful, sensitive, and provocative in
whatever they do, for what drives the clown more than anything else is their
desire to connect with the world around them and all that is in it.
Challenges and Obstacles
When exploring clown, physical comedy, and devising scenes, most of what
the players struggle with can be narrowed down to four things: technique,
commitment, tactics, and story.
Figure 0.7 Opera diva clown Crystal Philippi. Photo credit: Eric Gillet/Shoot That
Klown.
19
Technique, Commitment,
Tactics, Story
Technique can be obvious: “This is how you do a handstand.” Or less obvious:
dancing in a random way may appear rough and too loose to teach anything,
but it encourages physical improvisation and complicity with others; a chance
to explore movement with only a few rules and no particular style to adhere
to, just responding to, and communicating with music, however you like.
Learning good technique requires constant repetition to own it and make it
appear natural. This repetition can be boring: it takes real effort to focus, practice
and repeat over and over again. One approach is to make the practice part of
everyday activity. Waiting for a train? Find a wall and hold a handstand for one
minute. Restless hands? Juggle or practice sleight-of-hand. When walking down
the street try different body leads, practice head takes, work your trips and slips
throughout the day. Make people nervous, make them laugh.
Commitment is about making a decision to do something and not fretting
over whether it’s the “right” decision. Clowns commit to the most absurd
actions! The audience goes with them because of their commitment: to give
over to something fully, gives any action or scene a dynamic power.
When the clown makes an emotional commitment to an object, a partner
and the play, the audience will make a commitment too. Sometimes it’s as
simple as the clown giving something his absolute attention. This makes
others curious about what has him so enthralled. It creates relationships
between the clown and the audience and everything he gives his attention to.
To understand and manifest the clown as energy, the players must develop
their ability to commit to things on an emotional level. This commitment
opens up a flow that will bring in new possibilities for play that could never
be experienced if the players only work from ideas, or just try to be clever.
Commitment involves taking risks, opening up and relating directly with
the world.
Don’t get me wrong, ideas are important. Like the rules of a game or the
first draft of a script, they’re jumping off points for play and give shape to an
act or scene. But I’ve seen students spend too much time talking and not
enough time doing, sitting and discussing ideas instead of getting on their feet
and exploring them in a physically interactive, playful way. Ideas should
encourage a complicity that is not only mental, but also physical and emotional.
Tactics help clowns get what they want. The clown has an objective. She
commits to it and uses various tactics to overcome obstacles, utilize her
successes, bounce back from her failures. The audience wants to see how
clever, resourceful, imaginative, and resilient the clown is, therefore, each
obstacle should be seen as an opportunity, a chance for the clown to connect
with the audience as they watch her play with various tactics to achieve her
objective. One of the best ways to develop a clown routine is to create
obstacles to overcome, with each one complicating the situation, building to
a finale where the clown’s tactics finally bring about success (in a foreseeable
or totally unexpected way), or he fails yet life goes on (Charlie Chaplin
walking into the sunset).
One important tactic is how a clown plays with status. Sometimes the
hierarchy is overt: the audience can see by the clowns’ costumes and actions
who has high status and who has low. Other times it’s less obvious and
malleable; the status changes throughout a scene. How does the clown use
status to get what she wants? How does the creator of a clown routine use
status to reveal relationships, characters, tell a story? (For more on status see
Sections 7–9.) And status is not limited to human relationships . . .
A man walks along, so full of himself he doesn’t look where he’s going and
runs into a wall. His objective was to walk along proudly preening. Because
the wall has thwarted that objective it now has higher status. He gets angry
at the wall, vows to get revenge. The comedy comes first from the interruption
by the obstacle, the slapstick of hitting the wall. The clown expands on that
by having a status battle with an inanimate object: he strives to maintain his
status over a wall. This creates another layer of comedy, a higher level of
slapstick, a way of making fun of our pretenses, our overwhelming need to
succeed and control. Status becomes a tactic both for the clown in the scene
and the creator of the story, using status play as a way to develop relationships
and reveal more about the clown.
Storytelling is what you do every time you step on stage. I refer to
everything as a story, whether it’s a juggling act, an absurd comic routine, or
a scene with a straightforward plot. I like the idea that the clown is not
coming out to show off tricks or demonstrate how funny they are, but to tell
us a story about themselves and their world (which could involve showing
off tricks and being funny).
Another way to think about story is what is the shape of a piece? It can
help to draw it with a line:
Does it move on a straight trajectory to a crescendo? Or descend from a high

point to chaos or an acquiescing to fate? Does it have many peaks and
troughs, or move along without much happening then suddenly build in an
explosive way to a denouement? Drawing its shape can be a useful
simplification.
Almost anything can give a story shape: tactics, objectives, different skills,
objects or colors introduced. For example, a sudden burst of red in a routine
can change its shape. The speed of a clown’s actions—fast, slow, staccato,
flowing—affects the shape. How actual shapes are represented—a round-
shaped clown, props that are all lines and angles, set pieces that tilt in
different directions, big, soft curvaceous objects that fill the stage, narrow
rectangular flats, etc. Clowning is a visual art form: the players should
Figure 0.8
Aeronautical
clown Carasue
McClendon. Photo
credit: Eric Gillet/Shoot
That Klown.
consider color, shape and pace in mind when thinking about how to create a
dynamic story (see Section 14: Devising for clown and physical comedy).
So, the players should always keep in mind technique, commitment,
tactics, and story. If a player’s act is based on their coat antagonizing them,
they must ensure that their technique is good enough to make the audience
believe the coat is alive. If a player doesn’t commit to what they do, neither
will the audience. A clown show should be a game played with the crowd
filled with amusing and inventive tactics to keep them engaged, ready to join
in. And the clown’s story needs to have plenty of twists and turns and a
certain logic (even if it’s a skewed logic), or they risk losing the audience or
leaving them dissatisfied.
Entrances and Exits—Discovery

Moments—Success and Failure
The other problem areas for budding clowns and physical comedians are
entrances and exits, discovery moments, and understanding how to work
with success and failure.
Dynamic entrances that introduce the clown to the audience, and exits
that leave them satisfied, agitated, or excited, are crucial to this work. How
a clown enters and exits can say a lot about them if they know how to
use the in and out in a creative way (see Section 3: The Talking Body and
Section 5: Curiosity).
It’s vital that the players take time to discover a moment. It gives the
audience a chance to witness what affects the clown so it can affect them.
Discovery moments can include an object, another person, a change in
energy, a transition from one idea to another—anything that moves the story
along, changes its direction. The players often rush these moments, not
realizing that connecting with an audience requires them to give more focus
to an action than they normally would. A discovery moment invites the
audience in, makes them curious. Discovery moments give variation to a
story’s rhythm in the same way music has rests and quieter passages that
build suspense, diversity, and depth. It gives the players—and their
audience—a chance to breathe, get their bearings, and go deeper (see Section
3: The Talking Body and Section 5: Curiosity).
We live in a world obsessed with success and terrified of failure. Learning
how to play with the tension this creates can produce powerful and very
funny scenes. It’s one reason people are drawn to clowns: they don’t travel in
a vertical line to SUCCESS! They fall and fail again and again, taking us on
a journey that doesn’t always lead to victory. We enjoy the ride because the
clown shows us our humanity, which includes our screw ups, losses, and
disasters. A good clown gives us a chance to laugh at failure, spend time
reveling in chaos. This is part of the joy the audience feels when watching a
clown show: for a time; they’re liberated from their need to control things, to
compete and win, from their fear of failing. The performance becomes a
communal event; there is no boundary, no fourth wall between the players
and the audience. It is a shared experience, a true conversation.
The Right Way

After doing an exercise, students will often ask “Did I get it right?” I reply,
“Did you feel that what you did was working? Did you connect with the
audience? Or did you feel inhibited, unable to play?” Our task as collaborators
(adviser and student) is to find out why. What keeps the players from
going with their impulses, welcoming accidents, and playing off them? The
fear of judgement, the internal critics? A lack of practice, not knowing the
material?
The players must develop the ability to know when something is working,
when it isn’t, and how to act on that knowing in the moment. This is at
the core of the self-exploration a player must undertake: what obstacles
hold them back and how do they overcome them? An adviser’s job is to
discern what those obstacles are and help the players to find tactics that
work for them—aggressively as well as joyfully. The exercises in this book
can develop the players’ insights into what holds them back, help quiet their
inner critics, learn to trust their instincts, and bolster their courage to face
any audience.
Failure as a Choice, Accident as an

Opportunity
Failure works on us in sometimes harsh and incomprehensible ways; we
must learn not to take it personally. Mistakes are inherent in all the work we
will ever do: every time we walk we might trip, whenever we say something
there’s the chance it will sound awkward. The beauty of clowning is that it
can transform failure—and our fear of it—into our greatest ally! Many of the
exercises have this as a core lesson: learning to accept, play with, and
transform failures, accidents, and disadvantages, into successes, opportunities,
and advantages. To learn to lose or fail on purpose in order to make a game
more dynamic, to play with the tension between success and defeat.
The Ever-Changing Game

Once they understand the rules of a game, the players should be allowed to
alter them and invent variations. Bending, breaking, and suggesting new
rules as a game progresses, is how it evolves and becomes a collaboration not
only between the players and the adviser, but between anyone who’s ever
played the game anywhere in the world at any point in time. This mutability
is one of the beauties of games. While it is important to establish rules and
follow them at the outset, games should be treated as open formats, constantly
changing and evolving (see Section 10: The Rules, the Script, the Game, the
Play).
Every group will play a game differently. The adviser should consider who
is playing—actors, circus artists, clowns, improvisers, business executives—
how well they know each other, and what the group’s been up to before the
class. Games are about working with group energy; the adviser should stay
aware of this and adjust his game plan accordingly.
The players should not only compete and collaborate, they should
challenge themselves and each other in the midst of the play: be cunning
and devious, helpful and subservient, mean and vengeful, kind and respectful.
Or sacrifice themselves—deliberately lose—to see how that might change a
game and their understanding of its rules. It’s important that the players
expand the experience of a competitive game, that the play moves out in many
directions, not just vertically towards winning. When competing, the players
often get tense and defensive; they’ll protect themselves at all costs. They
forget about playing with the game, with their partners, that they can
collaborate with those they’re competing against. When a player chooses
only to defend himself until he can find an advantage and win, the game
becomes one-dimensional: we watch him obstruct rather than create,
retaliate rather than relate, withdraw rather than come forward and play.
Games where roles change quickly and the players get a number of
chances to try again, give all involved the opportunity to explore their
feelings about playing, winning and losing. They start to let go of their
obsession with victory or getting things right and gain insights into true play
and their own feelings about competition and correctness, creating an

environment that encourages invention and collaboration.
The Director and the Clown

In order to achieve a balance between devising material and performing it,
the players should approach all games and exercises with a dual mind. I call
this split the director and the clown.
The clown revels in the game, plays with abandon, tries to disrupt it now
and then. The director stays aware of how they and their partners play in the
midst of playing. Not in an analytical or judgmental way but observing
tendencies, taking notes, and consciously guiding the play.
The director follows the script, stays with what’s rehearsed. They’re
concerned with technique and craft, structure and plot. The clown wants to
improvise, go off on tangents, follow their instincts, damn the script! These
two are often at odds yet are absolutely necessary to each other: if the director
dominates, a performance risks looking formulaic, too stiff, predictable. If
the clown dominates, the performance may come across as vague or self-
indulgent. But by learning to play in two minds at once, the players find a
healthy balance between structure and spontaneity. Their performance has a
solid plot yet it’s full of unexpected twists and turns. They can take material
they’ve rehearsed and feel confident with and let the clown play, go with
whatever happens in the moment, with the confidence that the director will
steer them back to the solid ground of the scripted show.
The adviser should constantly emphasize this dual mindset for every
game and exercise in this book, especially during improvisation; it’s in these
moments that director and clown work together to find dynamic, focused
and inspired play.
Figure 1.1 Devin Shacket: Hello. Photo credit: Eric Gillet/Shoot That Klown.
28
1
Hello
A Pharmacist, Helium Balloons, and

a Red Nose
One of my earliest and most memorable experiences as a clown started with
a red nose. I was working for a place called Huffman’s Alley, run by Kent
Huffman, a pharmacist turned party supplier. No, it’s not what you think. He
rented and sold costumes and accessories, magic tricks and juggling props,
Figure 1.2 The author’s

early days as a clown.
Photo credit: Mary
Dieffenbacher.
29
makeup and Halloween masks. He’d also cornered the local market on
everything balloon: balloon bouquets, balloon releases, balloons for parties,
weddings, corporate events—balloons of every color, shape, and style.
Two weeks into the job I was asked to help hand out balloons at an
outdoor event. Kent asked me to dress as a clown to drum-up business. I
hadn’t done much in the way of performing—certainly not as a clown—but
he reassured me. “Just put on some makeup, a colorful costume, and a
red nose. It’s a strong visual—it’ll attract attention! And everybody loves
clowns.”
So, I found a red, ping pong ball-sized nose from the store’s stock, and for
the costume, chose a black-and-red-striped, 1920s-style bathing suit which
ended just below the knees, black tights, white sneakers and a bowler hat. For
the makeup, I covered my face with white, drew on black eyebrows, a bit of
red around the mouth outlined in black. It was not the usual bright, colorful
makeup and garish costume I’d seen on clowns, but I was an introverted kid
being asked to draw attention to myself; black, red and white was as colorful
as I wanted to get.
At the event, as I stood near a helium tank blowing up balloons, tying
them to ribbons and handing them out, I was surprised at how open people
were to my “clown.” They were smiling, waving, engaging with me. Suddenly
the introvert, who found it hard to connect with people in most social
settings, was interacting with everybody! And my natural comic bent—
which had always gotten me into trouble at school—was suddenly an
advantage, a way for me to play with the crowd. I was the same shy person
underneath the costume, makeup, and nose, so what was causing this change,
not just in me but in everyone around me?
I chose not to talk. There was so much happening—and so much I wanted
to play with—that my brain went into overdrive and my mouth couldn’t
keep up. I began to engage with the crowd using just my physicality—and
whatever props were at hand—to express myself. This turned into an all-day
improv session with me bouncing from one person to another, shaking
hands, imitating people, dancing with them, hugging them, trying to steal
their drinks, begging for a bite to eat then feeding the offer to someone else,
showing off the six juggling tricks and four hat moves I’d mastered . . . It was
a mad rush of emotion and performance as I transformed a space normally
used for work and shopping into a playground.
At the end of that long, hot day, I was amazed that I wasn’t exhausted.
Instead, I felt invigorated! And perplexed: what happened to the shy kid?
Why did I suddenly become so animated, so gregarious? Were all these
Hello 31
people ready to play with me simply because I was dressed as a clown? Was
that it, the costume and red nose made me a clown? And where had all those
ideas, all those invented games come from? I had zero training, not much
theater experience, no background in improvisation with an audience. What
I did have was a burning need to connect with people, a deep curiosity, and
a desire to play. The mask of makeup, costume, and red nose gave me—and
the crowd—a license to do just that.
The crowd and I discovered—to use a word that is popular in theater—
complicité. In the theater it refers to the ability of actors to come together as
an ensemble, to connect with one another so there’s a seamless flow of ideas,
emotions, actions and reactions, amongst the members of the group. The
dictionary describes it differently:
Complicity involved with others in an activity that is unlawful or morally
wrong.
That’s what it felt like that day: we were all engaged in activities that were
normally wrong. Adults don’t act that way in public! They don’t get goofy,
play games, embrace strangers, dance with people they don’t know.
The feeling I had that day was so strong, I still remember it in my body
some thirty-five years later. That day when the whole world (at least in my
vicinity) opened up to me. That experience kick-started a lifelong fascination
with the clown and led me to question why they encourage play and
connection, how they overcome barriers internal and external, how they
openly engage with the world around them with a fearlessness that borders
on crazy. But are they fearless? Crazy? Or just curious?
Any artist who decides to teach has to spend a great deal of time figuring
how to articulate what they’ve learned from experience or do instinctively.
They then have to translate their insights into exercises, lesson plans and,
ultimately, a method or pedagogy so they can teach what they know to
others. When I started doing workshops on clowning, my first thought was
“Don’t just teach. Don’t create exercises that students have to ‘get right’. Don’t
show them things that only require them to imitate and parrot it back to me.”
What I needed to do was create an environment in the classroom that was as
close to a live performance as possible. To try and recreate the experience I
had on that first outing dressed as a clown.
The exercises in this first section are a combination of vocal and silent
communication games that help the players get to know each other and the
space they’re working in. They begin the process of connecting the players to
each other through vocal and physical play, helping to create and build the
ensemble. They encourage complicité and, most importantly, they introduce

participants to the open-minded play of the clown.
HELLO!
In this game, the players introduce themselves to the group by
name, accenting the introductions with gesture and movement.
Participants present themselves in a playful manner; it’s also a simple
way to associate words with movement.
Variation 1—With moves The players stand in a circle. Starting player says
her name then repeats it doing a movement or pose for each syllable. For
example, “Tina Smith” is broken into three syllables and three movements.
She repeats this, going slowly: as she does, the group imitates her movements
and calls out the syllables of her name. They repeat this three more times,
speeding up each repetition. This pattern continues around the circle, each
player creating a movement sequence to go with the syllables of their name
and leading the group through it.
Variation 2—With cheese The players roam. When they make eye contact
with another person, they smile and say, “Hello!” to each other, come together
and shake hands. First player who points at their partner starts the dialogue:
David It’s you!

Amica Yes. It’s me! Amica Punter.
David Amica Punter! Good ol’ Amica Punter.
Amica Yeah, that’s me. Good ol’ Amica Punter. And you!
David Yes. It’s me! David Bantor.
Amica David Bantor! Good ol’ David Bantor. Great to see you David Bantor.
David And you, Amica Punter! See you later Amica Punter!
Amica Great to meet you David Bantor! See you later David Bantor!
The players repeat the dialogue with everyone they meet. The text doesn’t
have to be exact: the objective is to greet each other in an overly friendly way,
introduce and repeat each other’s name as often as possible.
Hello 33
Variation 3—With Tag This uses the game of Tag to help the players learn
each other’s names. One player is the Chaser. He tries to tag others. When he
gets close to a player, she calls out the name of another player. The Chaser
immediately runs after the player whose name has been called. If the Chaser
tags any player before they yell another name, they become the Chaser.
BIRDS AND BEES

This game gets the players moving and warmed up at the start of a
class or rehearsal, or any time the focus or energy of the group is
flagging. It requires that they learn specific movements then recall
them accurately as variations are added and the game gets faster.
Variation 1—Chase The players form a circle. The adviser starts: she hops
in the air and turns to her left, landing with her feet wide, as if a duck is
running through her legs. She bends over as she watches the imaginary duck
go through, does a hop so she’s facing front again and looks to her right. This
cues player to her right to do the same movement sequence. This continues
around the circle.
When it gets back to the adviser, she lifts her left leg high, then her right
(knee to chest), as if a goose is running under her legs. After she puts down
her right leg, the adviser looks to her right. This cues player to her right to do
the same sequence. This continues around the circle.
When it gets back to the adviser, she steps forward and does a three-
quarter turn to her left as if watching a sparrow fly behind her, spinning in
place as she watches it go until she’s turned towards the player to her right.
They do the same sequence. This continues around the circle, until all the
players’ bodies are turned to the right looking at the back of the next player
in the circle.
When the movement goes all the way around the circle, the adviser looks
over her left shoulder, quarter turns to her left so she’s facing in towards the
circle again and covers her face with both hands as if a swarm of bees is
flying past chasing the sparrow. The adviser holds this for a second or two,
removes her hands and looks to her right. This triggers the next player to do
the same sequence. Continue around the circle. Run this a few times until
the players learn the moves that go with each creature.
Variation 2—Fast chase Same as above, but when the duck reaches the
third player from the adviser, she lifts her legs for the goose. When the goose
reaches third player from the adviser, she turns for the sparrow, etc. In this
variation, the players are constantly reacting to the birds and bees chasing
each other rather than waiting for each one to go all the way around the
circle. Run this a few times.
Variation 3—Duck! Goose! Sparrow! Bees! Same as Variation 2, but as the

animals pass by, each player shouts the name of the creature going past,
‘Duck! Goose! Sparrow! Beeeeeeees!’ Run this a few times and see how fast
the group can keep track of the creatures and do the choreography, amongst
the playful chaos of movement and sound.
Note: Any type of creature can be used in this game as long as it’s passage
inspires movement. Try it with a fly, a cat, a dog, a horse, a vulture . . .
GROUP LOCO MOTION

Any of these variations are good to use as a warm-up before any
exercise or performance. They encourage interaction between the
players and help them develop their kinesthetic awareness when
moving in a group. Individuals learn how they might change the
group energy, while at the same time seeking complicity with all
involved. They’ll make the players more aware of the space they’re
working in and how their partners move through it. They’ll suggest
ways of walking for a clown or character and can also be used in
ensemble scenes as a way to inspire improvised group movement
that could be developed into set choreography.
Props: Gym mats—thick ones that Velcro together not yoga mats—are
helpful in some variations as they create a softer surface for the players to
roll, crawl, lie down on, etc.
Physical prep: The first variations start easy with forward movement done
at a normal to brisk pace, so it acts as a warm-up for the variations that
follow. These add more vigorous movement, but the players are free to make
Hello 35
choices on how they’ll move based on their bodies and their training (those
who have dance or acrobatic experience may try more agile moves in
Variations 4, 7, and 8).
Variation 1—Feet first The players roam, walking around the room with
their heads up and eyes forward. They walk tall, imagining a string attached
to the top of their head drawing them upwards; their body hangs from this
string without tension. They explore the feeling of buoyancy and support that
this visualization can create. The players use this time to check in with their
bodies, shake loose any tension, take note of places where they feel discomfort,
and keep being aware of these places as they continue through the variations.
From this upright, neutral walk, they go up on the balls of their feet, a
little at first, increasing the height as they feel the hamstrings and calves
stretch. After walking up on the balls of the feet, the adviser tells them to
switch and walk on the heels, lifting up the front of the feet so they’re well
back on their heels, adjusting their body to stay balanced. They then alternate
from ball of foot to heel, switching every two steps. They then switch to
walking on the outside edge of the feet, then switch to the insides (the players
should progress in increments, gradually putting more weight on the outside
and inside edges of the feet). They then alternate from inside to outside every
two steps. Next, they turn their feet inwards—pigeon-toed—and walk this
way. Then they walk with their feet splayed out, then alternate pigeon-toed
to splayfoot every two steps. Then it’s the rollout walk: the feet are splayed
out, the players step right heel first, then roll along the sole of the foot and
rise up on the ball. The knee bends out to the side, the hips sway side-to-side
as they step the same way with the left foot (this is an exaggerated version of
Charlie Chaplin’s walk).
From the rollout, the players return to a neutral walk (this can be returned
to after any step variation), then go into a lunge, taking a long step forward
and bending the leg that steps out, keeping the knee in line with the ankle.
After a few moments lunging, they stride, taking long steps without bending
the forward leg as deeply. Then it’s knee highs: they bring the knee up as high
as they can towards the chest with every step, coming down with a flat-
footed stomp (the players explore degrees of force to produce loud or soft
sounds). They then do the same but open in the hips, so they raise the knee
up on the side of their body not the front. Then it’s the swing out: the knee
comes up in front of the body, and while still up, is rotated at the hip socket
to the side of the body then down to the floor. Repeat with other leg,
alternating as they walk forward. From the swing out, the players do the fat
tire walk, taking wide steps side-to-side as if stepping into large truck tires
laid out on either side. Then they high step, kicking their legs up high while
keeping them straight. They continue this but high step out to the side of
their bodies.
They return to the neutral walk then turn sideways and step out wide with
the right foot, bring the left foot up against it, and repeat as they progress
around the room walking sideways, then switch and step out with the left foot
first. Then they step sideways, always crossing the left foot in front of the right
as they walk. Then switch with right crossing in front of left. Repeat both sides
but stepping behind the leading foot. Then they alternate, stepping out sideways
with the left foot, bringing the right foot in front of the left, side stepping out
again with the left, then stepping behind the left with the right foot, repeating
this pattern to move around the room (some call this step the Grapevine).
Then repeat with the left foot crossing in front and behind the right foot. The
players return to the neutral walk then speed up, progressing to the race walk,
swinging, or swiveling their hips from side-to-side, their arms bent at the
elbow, pumping forward and back. From this they break out into a full-on run,
making quick shifts in direction and getting a good cardio workout. Gradually
they slow down, imagining their body rolling to a stop like a ball coming to
rest. They stand tall, imagining that string still attached to the top of their head
drawing them upwards as they catch their breath and breathe deeply. They
do another check over their body, taking note of any changes from when
they started. The adviser gives them time to return to normal breathing, then
they shake loose all parts of their body, and are given time to get a drink.
This first variation starts by warming up the feet and ankles, moving up to
the legs and hips, and then the torso by increasing aerobic activity. It will
improve mobility and balance, as well as agility.
Variation 2—Walking the dictionary The players roam. The adviser calls
out dictionary definitions of ways of walking:
Amble Walk leisurely, at ease, in no hurry to get anywhere.
Careen Stumble side-to-side as if out of control.
Falter Move with hesitation, weakly, as if about to collapse.
Flounder Walk in a clumsy way, with the limbs flapping and the body
flailing about as you move.
Limp Walk as if you have a stiff leg. Alternate legs.
Lumber Move as if the body is heavy and cumbersome.
Hello 37
Lurch Move suddenly in various directions as if unable to control your

movements.
March Move as if you are in a parade being watched by spectators.
Meander Move in a laid-back way, in a winding pattern.
Prowl Move in a sneaky way, trying not to be seen but ready to pounce on
someone.
Saunter Like meander but stronger, with a bit more attitude.
Sulk Move in a bad-tempered way, body drooping, head down between
the shoulders.
Somnambulate Sleepwalk with your eyes open but as if still asleep.
Stiff Walk with all parts of the body tensed up.
Strut Walk as if you are the coolest, baddest person in the room (this one
has a bit of dance in it).
Stumble With every few steps, nearly fall down but recover each time.
Swagger Walk proudly, full of yourself (more muscular than strut).
Trudge Walk as if making your way through thick mud.
Wade Walk as it moving through shallow water. Keep walking as the water
gets higher.
While walking, using any of the definitions, the players should explore speed
as well as style: walk faster, slower, in a subtle way, in an exaggerated way. Any
of these ways of walking can be developed into a clown or character walk, a
way of entering the stage, or to display changes in thought or emotion. They
can also be used in ensemble improvisations: during a scene, someone in the
group can call out “Swagger!” and everyone in the ensemble starts to walk
proudly, full of themselves.
Variation 3—Size Always walking forwards, the players take up as much

space as possible as they move: arms out, legs wide, a big, lively expression on
their faces. They avoid colliding with others without stopping or changing
their forward movement.
On a cue from the adviser, they walk forward, taking up as little space as
possible, their bodies are contracted, arms and legs drawn in tight, they look at
the floor, occasionally glancing up, the expression on their face is shy, retreating.
Variation 4—Variety The players mix it up, moving around the room in as
many different ways as possible to increase their range of movement and level
of energy—sideways, backwards, turns, length and speed of stride, jump,

crawl, roll, etc. They can try a mix of the previous variations. The players avoid
physical contact and find creative ways to move around each other.
Variation 5—Stops and stalls The players roam, keeping their heads up
and eyes forward. Using the entire space, they weave around and in and out
of the group always walking forwards. To this they add abrupt stops. Or they
roll to a stop like a ball. They try slow stops, pause briefly, then a quick start,
and vice-versa. Experiment with stalls, slowing down but not coming to a
full stop. Try a gradual increase in energy and speed . . . or a sudden increase!
Sync stalls and stops with different players without them knowing it.
Variation 6—Numbers The players count off, then walk. The adviser calls
a numbers category—odd or even—and a command—speed up, slow down,
hop, stop, crawl, duck walk, etc. For example, “Even, hopping!” Players with
even numbers hop while those with odd numbers continue what they’re
doing. The adviser can call out “Walk” to bring them back to a normal walk
or call out new commands—“Odd run! Even lie down! Even stop! Odd
move in slow motion!”—and groups switch from hopping to running, to
lying down, to stopping, to walking slowly, etc.
Variation 7—Blockers and movers The players roam. Half the group
are designated as Blockers, the other half, Movers. The Blocker’s objective
is to step in front of a Mover, coming to a complete stop (stand, sit, kneel
or lie down to block), while the Mover avoids them without stopping.
Important: Blockers must time their intervention so as not to cause collisions
or trip up a Mover. They can telegraph their intention through eye contact
or make it obvious who they’re going to block through gestures or
movement. They play for an allotted time, then the adviser tells them to
switch roles.
Variation 8—Stop and drop Same as Variation 7, but when a Blocker

interrupts a Mover’s trajectory, both players drop down and move around each
other. For example, they squat and waddle past each other, do a forward roll, a
crab walk, crawl on their bellies, etc. They can both do the same action or find
two different ways of moving (they don’t discuss it, just drop and go). Once
past each other, they stand and continue walking. They play for an allotted
time, then the adviser tells them to switch roles (gym mats are good to use with
this one).
Hello 39
Variation 9—Stoppers One player is the Stopper. The game starts with
everyone standing still. One player (not the Stopper) begins to move (if
more than one player starts to move, they decide who keeps moving and
who stops through eye contact or gestures). The Stopper goes after the lone
Mover and grabs him by both shoulders from behind, stopping his
movement. When this happens, another player starts to move (only one).
The previous Mover becomes the new Stopper and takes off after the new
Mover stopping him by grabbing him by the shoulders from behind. This
pattern continues: the one who is stopped becomes the new Stopper for the
next Mover.
Variations can be added as follows:
● The same person acts as the Stopper for each new Mover, the group
playing the game with this one person responsible to stop any Mover.
After they have stopped a few players, designate a new Stopper.
● Movers sound off: They make noise, hum, speak lines or sing as soon
as they start moving, continuing sound and movement until the
Stopper stops them.
Advice
● “It’s not a competition: Movers don’t try to get away. As soon as the
Stopper grabs you, stop completely, wait, and when someone moves,
you become the new Stopper and go after a new Mover.”
● “Play with time: when one Mover is stopped, the next Mover can start
right away, or the group waits awhile to see who will start the next
movement.”
GROUPS AND AGREEMENTS

These variations are for developing complicity and group play. They’re
absurd and a bit silly, so they’re good for loosening the players up. I
repeat them often: once the players learn them, they’re a good way
to get them focused at the start of a class, when energy is flagging,
or to end the class on a playful note.
Props: Drum and drumstick.
Variation 1—Fish, bear, gorilla The players stand in a circle. Each one
silently chooses an animal:
Fish: Place open hands against cheeks and flap them out and in like gills and
say, “Blub blub.”
Bear: Open arms wide, clench hands like big clawed paws and say,
“Raaaarrrr!”
Gorilla: Pound chest with fists and say loudly, “OO-OO! OO-OO!”
The adviser hits a drum (or claps). Every player snaps into their chosen
animal. The objective is for everyone to become the same animal right after
the drum hit. Play a few times. Then play so the majority wins: animals that
are in the minority step out. The game continues until all the players who are
left snap into the same animal right after the drum hit.
Variation 2 – Dagger, baby, cat The players roam. The adviser calls the
name of another player, points at him and says, “Whoosh!” while miming
throwing a dagger. Catcher says, “Aaahhh!” on the catch. The dagger can be
caught with the hand, between the knees, the armpit, etc. Or caught in the
body, the catcher pulling it out of their shoulder, belly, thigh, etc. The Catcher
becomes the new Thrower: they call out a name, point and hurl the dagger at
a new Catcher, both players using the same movements and sounds that go
with the prop and their roles. Continue this sequence, keeping movements
and sounds clear for the throw and catch.
Now the adviser cradles a Baby in her arms, saying, “Waaah!” to represent
a Baby crying. She gently passes the Baby to a Catcher. They coo “Ohhh” as
they take it, then switch to “Waaah!” when they get it in their arms. The Baby
is passed from player to player, keeping movements and sounds clear for the
hand off and catch.
Now the adviser mimes holding an agitated Cat by the scruff of its neck,
keeping it at arm’s length as it thrashes about, causing her arm to jerk around.
The adviser screeches, “Reehrrrr!” while she’s holding the Cat. She hands it to
a Catcher: They say “Noooo!” As they take it by the scruff of the neck, their
arm starts jerking about. When the Catcher has the Cat in hand, they switch
to saying, “Reehrrrr!” and carry it to another Catcher. The Cat is passed
around, the movements and sounds clear for the hand off and the taking.
Hello 41
Now combine all three: if a player gets thrown a dagger, he catches it and can
throw it to someone else. Or he can switch and pass the Cat, or the Baby. The
players change the movements and sounds that represent the mime for each
thing, keeping them distinct so each pass off is physically and vocally different.
Note: Anything can be handed off as long as the movements and the sounds
encourage different energies and ways of handling and receiving what is being
passed. When creating a variation, make sure the movements and sound are
distinctly different for each object or creature.
Advice
● “When making the passes, use eye contact and/or pointing to another
player make it clear who is to be the Catcher.”
● “Play with speed: do the movements and sounds in slow motion. Do
them quickly.”
● “Try slowing down the exchanges: wait a little longer to throw or pass
something on, play with it while holding it to build up the suspense. Or
as soon as something is exchanged, throw or pass it off to someone else
quickly!”
Variation 3—Height, age, sanity The adviser has the players line up
shoulder-to-shoulder according to a criteria:
● Line up by height, tallest at the beginning, shortest at the end.

● Line up by age, oldest at the beginning, youngest at the end.
● Line up by how much red you’re wearing. Most red at the beginning,
least or no red, at the end.
● Line up by the color of your eyes, darkest eyes at the beginning, lightest
eyes at the end.
● Line up by anger, most angry at the beginning, least angry at the end.
● Line up by happiness, most happy at the beginning, least happy at the
end.
● Line up by how much you love chocolate, those who lust for it at the
beginning, those who hate it at the end.
At some point, the criteria become absurd, for example, line up according to
who is the most existential. When the players catch on, can they still come to
an agreement and line up (rather than get in a long debate about who loves
prunes more)? What matters is that the group makes decisions and agrees
even when things get absurd.
THE FIVE COMMANDMENTS

This works as both a physical and mental warm up. Each variation
will require more concentration: The players must focus harder on
what’s said, and how that connects to what they do.
Variation 1—The commandments The players form a circle around the

adviser. She explains: “There are five commands, Go, Stop, Clap, Jump, Turn.
When I say Go, walk forward in a clockwise direction. When I say Stop, stop.
When I say Clap, clap your hands. If you’re walking, keep walking while you
clap your hands, if stopped, stay still and clap. When I say Jump, jump up. If
you’re walking, jump, then keep walking. If stopped, jump, and stay still.
When I say Turn, turn 180°. If you’re walking, turn and keep walking in the
other direction, if stopped, turn and stay still.”
Play the game for a few rounds so the players know the commands, then
call anyone out if they make mistakes; they take a seat inside the circle. Game
continues until there is one left.
Variation 2—Eccentric commandments Same as above, but the adviser

adds eccentric commands to the original five. For example, “When I say
Boogie-Boogie, waggle your hands and say, ‘boogie-boogie’. When I say Slo-
Mo, move in exaggerated slow motion. When I say Back, walk backwards.
When I say Skip, skip forwards.” The adviser runs this for a few rounds then
calls the players out when they make mistakes.
Variation 3—Inverted commandments In this variation, the adviser

inverts the action that goes with the command. For example, “When I say
Go, stop. When I say Stop, Go. When I say Clap, jump. When I say Jump, clap.
Turn stays the same: turn 180°.” The adviser runs this for a few rounds then
calls the players out when they make mistakes.
Variation 4—Animal commandments Same as Variation 1, but along with

Go, Stop, Clap, Jump, and Turn, the adviser calls out animals. The players imitate
Hello 43
animals walking or standing depending on the previous command. For example,

“Go! . . . Roosters! . . . Stop.” For this sequence, the players walk clockwise then
start imitating Roosters, then stop, holding a rooster-like pose. If the adviser
next calls out “Dog!” they transition to a pose imitating a dog standing still.
When he says “Turn. Go!” They turn and walk like a dog. The adviser runs this
for a few rounds then calls the players out when they make mistakes.
Advice
● “Stay playful while focusing on following the commands. Perhaps
being playful will help you stay focused.”
● “Make remembering the commands a part of the game rather than
trying to hide your struggle to remember the command or stopping
altogether.”
WAIT, WATCH, JUMP, PLAY

The beauty of this game is its simplicity. Variation 1 is subtle: All
players lead the game without realizing it because they’re so
intensely focused on following their partner. This sometimes creates
a laugh-inducing confusion: every player is suspended between the
urge to do something, while obeying the rule of not forcing anything
to happen. Variation 2 connects the players in a game that is part
competition, part collaboration. It gets participants to play big, taking
up space physically and vocally. Variation 3 is one of the best ways I
know for uniting a group and getting them to instantly collaborate in
a playful way. They give themselves over to the ensemble and join in
with whatever the group chooses to do.
Variation 1—Watch and wait The players stand in a circle and count off.
The adviser sets a pattern. For example, every third person. So if there are 12
in the group, the player who counted off 1 watches 4, 2 watches 5, 3 watches
6, 4 watches 7, 5 watches 8, 6 watches 9, 7 watches 10, 8 watches 11, 9 watches
12, 10 watches 1, 11 watches 2, 12 watches 3. The players are instructed to
watch and wait. As they observe their partners, they mirror their physicality
from head to toe: what is the expression on their face, are their shoulders
hunched, their spine straight, their feet parallel or splayed? If a player’s
partner (the one they’re observing) moves—even a raised eyebrow, a cough,

a slight shift of the feet, moving a finger, etc.—the one watching mirrors their
movement. This, of course, sets off a chain reaction as each observer reacts
to the movement of their partner.
No-one tries to initiate an action deliberately; they simply respond to any
subtle changes displayed by the one they’re observing. Play for a minute or
more, then count off again to observe and follow a new partner.
Variation 2—Hop HA! The players stand in a circle. Everyone inhales, then
exhales with a long, “Haaaaaa . . .” They repeat, going up and down vocally,
from a high pitch to a low. The adviser encourages the players to use their
breath to release tension in the body, especially the face and throat.
Now the players try the sound with a hop: they take a deep breath, hop
forward, land on both feet at the same time, flex at the knees and open their
arms downwards towards the floor as if scooping up a big armful. The head
is up, the eyes forward. The players exhale with their mouths open wide and
say, “HA!” The sound is breathy, loud, and extended. They imagine the sound
coming from the earth, through their feet, up their legs, filling the pelvis and
the torso, exiting up through the neck and out the mouth. A sound that
could move mountains . . .
Once the players run the hop and “HA!” a few times, the adviser says he
will hop forward and say, “HA!” expecting everyone to do the same—at the
exact same moment—then step back into the circle. The adviser leads the
hop and “HA!” a few times, everyone focused on doing it together, then
encourages anyone in the group to cue the hop and “HA!” with everyone
prepared to jump forward at the same moment. The one leading the Hop
HA! can choose to wind up and telegraph when they’re going to do it, or not.
Advice
● “The energy from the hop goes down into the earth, back up through
your body to be released in HA! You should feel heavy and grounded
when you land.”
● “Stay attentive to the group so you can hop and HA! together. It’s not a
competition.”
● “Play with time: after the hop and HA! as soon as the group steps back,
anyone can initiate a new jump. Or everyone pauses . . . makes eye
contact, delays the hop and HA! watching each other closely to sense a
cue when to go.”
Hello 45
Variation 3—Who’s got game The players stand in a circle and the adviser
explains the rules. “I’ll start the game by saying, OK. When I want us to stop,
I’ll cross my arms, we all reform the circle, and I’ll say done.” The players
make eye contact with each other, relax their bodies and faces, stand in a
neutral position, nothing moving but their eyes. The adviser says, “OK.”
The game can be a player pursing his lips or sticking a tongue out, raising
their arm or turning a foot outward, etc. The players see this first game, and
everyone decides to copy it. For example, they all turn their left foot outwards.
They can develop this game—turn both feet outwards, then both feet
inwards—or another player introduces a new game such as singing “Happy
birthday to you!” and the group decides to join in. The players vary the
games: use words, sounds, or gibberish; move in exaggerated ways, or small
and subtle. They can maintain the circle as they play or move about the
room, but they must stay focused on the group to ensure they’re all playing
the same game, and to catch any new game that is adopted.
If two players introduce a game at the same time, they both keep at it until
the group decides which game to play. The majority rules: any player who
initiates a new game that isn’t taken up by the group, lets it go and joins in
with what the group decides; they don’t cling to their idea and demand the
group plays it.
To end the game, the adviser crosses her arms, the players return to the
circle and the adviser says, “Done.”
Summary
The objective of this section was to introduce the players to each other and
start the process of uniting them through physical play and dynamic
interaction. This starts to develop the trust needed for later sections when
they’re working together to devise ensemble pieces and taking more risks
mentally and emotionally. This section also had the players moving through
their workspace in dynamic ways, starting the process of getting them
familiar with the room and finding simple ways to interact with it. This
is crucial to clown performance and is further explored in Section 5:
Curiosity. The next section continues to connect the players, encouraging
and heightening their playful energy. Later sections will connect this to the
clown’s way of interacting with their environment.
Figure 2.1 Jonathan Rex: Energy. Photo credit: Eric Gillet/Shoot That Klown.
46
2
Energy
The Telepathic Renaissance Fool

Colorado. A Renaissance festival in a forested, mountainous region between
Denver and Colorado Springs. The air is thin and crisp, filled with the scent
of evergreens. On a wooden stage at the bottom of a low hill, the slapstick,
acrobatic, comedy trio, the Abbotts of Unreason, are waiting for the crowd
meandering down a shrubby, rocky incline towards the stage; they’re coming
to check out the Abbotts’ fifth and final show of the day. The sun is low in the
sky, some people carry mugs of ale, others have greasy turkey legs in hand,
Figure 2.2 The Abbotts of Unreason, Mark Renfrow (seated) and Joe
Dieffenbacher. Photo credit: Papa Renfrow.
47
some munch on “medieval” egg rolls. They look happy: it’s been a good day
at the Colorado Renaissance Festival in Larkspur.
I’m standing onstage as Eoj (ee-o-juh)—the fool in this comic trio—
sweeping the stage while my partners are getting ready. Some people readily
take a seat on hay bales, others stand at the back unsure if they want to stay,
wondering, who’s the colorfully dressed janitor?
I’m clearing the stage of any debris that we might trip on, poke us in the
back, dirty or tear our costumes; the Abbotts of Unreason are infamous for
throwing each other around, knocking each other down, tripping and
flipping across the stage—even crashing through wood floors and walls on
some occasions. So, sweeping the stage has a practical purpose. But it also
has an educational one: I’m learning about the crowd, their mood, gathering
bits of info that might be useful later during the show. I discover it’s someone’s
birthday and get the crowd to sing to them. I find a kid who knows how to
balance a broom on his open palm and get the crowd to cheer him on. I talk
to them but I don’t tell jokes or try to be funny, I simply start a conversation,
the humor coming out of the open, sometimes foolish, mostly simple nature
of my character, and the playful dialogue.
In the midst of this leisurely approach to starting the show, I’m suddenly
struck by the strangest feeling: as the crowd grows bigger and I engage with
them, I have a feeling of telepathy, like I can read their minds. I’ve never felt a
connection like this! Everything I say and do, connects with the crowd, warms
them to the character, sets them at ease, but also gets them anticipating
the show about to happen. And when my partners come on—one dressed
as a squire, the other as a weird wizard in kabuki-style makeup—I see the
audience lean forward, curious and ready to play. Complicity has become
telepathy, an energetic connection with a crowd of a few hundred that came
about through humor, play, and the open curiosity of the fool.
It started with a conversation that was both verbal and physical. It
included play not only with a prop (the broom), but the space (not just our
performance space but the audience’s space as well). Me coming down to
them, them coming onstage with me, built a bridge between the spaces,
broke down the wall between their everyday reality and the Abbotts
theatrical, imagined one.
This opening of the show—a man just sweeping the stage—that was not
presented in any way as THE SHOW!—was played by me with the same
back-and-forth, collaborative/competitive aspects of a game. And treating it
as a game allowed me and the audience to open up to one another and create
a flow that myself and my partners enjoyed for the next forty-five minutes. It
Energy 49
was one of the best shows we had that year and opened my mind up to an
understanding of clowning that went beyond jokes, gags, comic bits, or
funny business. The clown’s objective was not simply to satisfy his ego or
seek approval by making the audience laugh, but to find ways of uniting
them through play.
The games in this section aim to do just that. There isn’t much on theory
here, just games that get the players to be physical, competing and
collaborating, and collaborating while they compete. This begins the process
of understanding the paradox of ensemble clown play: it’s a contest between
individuals who, at the same, strive to cooperate to achieve a greater objective.
WALK THIS WAY

This is a good physical warm-up game which also explores ways of
moving that can be used for a clown or character walk, or to develop
group movement. The suggested scenarios will encourage the
players to explore different energies through physical play and how
that is expressed when confined to movement done in place.
The players stand in a circle and begin walking in place. Their movements
are casual, relaxed. The adviser then calls out a situation and they change the
walking movement to reflect the scenario described.
Note: The walking in place never stops, just the quality of the movement as it
is affected by the scenarios.
Here are some suggestions:
● Someone is stalking you from behind. You’re nervous, scared. Your

walk speeds up or slows down, you glance back now and then or keep
looking back for longer stretches. You might even walk backwards.
● Walking along a beach as the sun rises, moving towards the one you
love.
● A large scaly beast is following you, close behind. It’s sweating, farting
and drooling. Some of its bodily fluids fall on you as you walk and try
to stay calm.
● A large, sweet, chocolate covered donut (or other desired confection)

is dangling in front of you just above eye level. You walk along trying
to grab it, but it remains out of reach.
● You’re eating the sweet confection as you walk but are worried that
someone is going to take it from you as you bite and chew on it.
● You’re near the end of running a marathon walking race, sweaty and
nearly dead from exhaustion. Then you see the finish line and the TV
cameras turn to you. Your walk and your energy changes as you realize
you’re on TV.
● You’re walking through a crowd with a letter you must deliver but
you’re not sure who it goes to, turning and looking in all directions as
you walk.
● You’re walking on a well-inflated bouncy castle.
● You’re walking barefoot on hot coals.
● You’re walking barefoot on a warm, soft, velvety surface, that brings
you deep delight.
Note: Play with speed. Any of these variations can be done in slow or fast
motion. The adviser can also call out “Casual” to give the players a chance to
rest, moving in a relaxed way before introducing a new scenario.
CHASE ME, TAG ME

There are many variations on the game of Tag: it’s one of the best
ways to get everyone playing from a simple set of rules. The players
challenge each other as well as help each other, run around
frenetically, but also develop tactics for staying safe or gaining an
advantage. Games of Tag are perfect to warm up the players at the
start of a class or any time focus is drifting; they are immediately
immersed in energetic, physical play, they’re a good workout, and
they inspire creative movement choices.
Props: Rope or masking tape to mark a playing area, or gym mats if available.
Room prep: The players often lose themselves in these games, so have
everyone walk the space and ensure there’s nothing that might be a hazard,
Energy 51
making mental notes of raised levels, hard edges, corners, etc. Move any
objects that might get in the way to the edges of the room.
Physical prep: Slow-motion variations are a good warm up for the more
energetic games.
Note: For slow-motion variations 1-3, mark off the area with ropes or tape so
the players are confined to a smaller space.
Variation 1—Slow-motion tag The players stand so they are just out of arms’
reach of each other. One player is the Chaser. The adviser gives the signal to
start. Everyone moves in slow motion as the Chaser tries to tag them. No one
is allowed to speed up: they cannot make any sudden movements to escape
the Chaser, nor can the Chaser reach quickly to tag them. When a player is
tagged, he becomes the Chaser. During the game, the players also use their
voices, using sounds and words to accent their slow movements.
Variation 2—Slow-motion melodrama tag Same as Variation 2, but with only

one Chaser: when they tag someone, that person dies a slow-motion,
melodramatic death—complete with vocals!—moving to the outskirts of the
playing space as they lay down and die, and remaining dead until all are
tagged.
Variation 3—Slow-motion ninja Same as Variation 2, but each player’s left

hand is a poisoned blade, their right arm is a shield. The players always
move—as well as vocalize—in slow motion, matching sounds and words
with movement. The adviser gives the signal to start: the players try to stab
(touch) one another with their poisoned blade (left hand) anywhere on the
torso or lower body (anywhere but the arms and hands, counts as a kill).
They use their shield (right arm) to block others’ poisoned blades. They can
only use their right arm to defend themselves, never the left. This forces the
players to twist their bodies to attack and defend. If a player is stabbed, they
die a slow-motion, melodramatic death—complete with vocals - and remain
dead until only one is left standing.
Variation 4—Circles tag One player is the Chaser another is the Chased. Half
the class form a circle, arm’s-length apart; the other half form a second circle
standing a half meter behind the first (each player in the outer circle stands
directly behind a player in the inner circle). The Chaser starts outside the
circles, the Chased in the center. The Chaser tries to tag the Chased, pursuing
her inside and outside the circles. If the Chased is tagged, the roles are switched.
At any point in the pursuit, the Chased can stand at the front or the back of
any of the pairs in the circle. This is a safe zone; he cannot be tagged. When the
Chased steps in front of a pair, the person at the back becomes the Chased. If
he seeks safety at the back, the player at the front becomes the Chased.
Variation 5—Human chain tag One player is the Chaser. When they tag
someone, they join hands with her. Both are now the Chaser. They run about
trying to tag others. Every time someone is tagged, they join the chain, with
only the free hands at the ends of the chain able to tag. Other parts of the
chain can try to block or corral those running about so they can be tagged
by the ends. Continue until all have joined the Chaser’s chain.
Variation 6—Everybody’s it tag All the players are It. The adviser signals the
start. The players try to tag each other while avoiding being tagged. If a
player is tagged, he sits out. If two players tag each other at the same time,
they’re both out. Continue until there is one left.
Advice
● “If you’re being chased, tease the Chaser! Play with the tension of
nearly getting caught. Or beg to be tagged while you run away from the
Chaser. Explore tactics for escaping or losing theatrically. Make it a
scene with high stakes!”
● “If you’re the Chaser, toy with those you’re chasing! Play with the
tension of nearly catching them, let them think they can escape then
catch them off guard. Find inventive, dramatic tactics for capturing
your prey.”
THE SOLO AND THE ENSEMBLE

This exercise builds physical trust between players and focuses the
group on moving as an ensemble. The variations also allow individual
players to make choices that express their physical strengths and
weaknesses, which are, in turn, supported by the group.
Energy 53
Props: Gym mats or thick towels may be used when the players are on their
knees or lying on their backs.
Variation 1—The playful circle The players stand in a circle, holding hands,
their feet just over shoulder-length apart. They lean towards the center of
the circle as one, spines straight, not arching forwards or back nor bending
at the waist, keeping their heels on the ground, and maintaining their balance
(and the group’s). They then lean back without lifting their toes, keeping
their spines straight, still holding hands. They continue this back and forth,
keeping the circle intact, all players moving in and out in sync.
Now they create a wave. Start with one player—we’ll call her A—leaning
forwards. As A starts to move back to upright, player to her right—we’ll call
her B—moves forward (as A leans back). Next player in the circle—C—starts
to lean forward as B starts to move to upright and back. So, the movement of
the circle is staggered, creating a wave pattern. Once they achieve this cleanly,
the adviser tells them to come back to standing upright.
Now they all lean to the left—still holding hands, keeping their bodies
straight and the soles of their feet on the ground, then right. They explore
this side-to-side sway for a few minutes, then the adviser tells them to stand
upright.
Now they move in tight together, sliding their hands up their partners’
arms on either side of them until their hands are resting on each other’s
shoulders, their elbows bent. They make as tight a circle as they can without
losing this shape, (no-one turns sideways or stands in such a way as it
staggers the line of the circle). Once they are as close as they can be while
maintaining a clean circle, they slowly move out, sliding their hands back
down their partners’ arms, continuing until they slide along each other’s
palms to the fingers, stopping when they achieve this light touch with just
the four fingers (the pads of the fingers not the tips or thumbs). They then
slide their hands up their partners’ arms, reform the tight circle, then slide
out again. Repeat until the group can do it smoothly. Try it faster.
The players must maintain contact with their partners’ arms on either
side of them as they step back in. Try to time it so all the players end with
their fingers touching at the same moment.
Variation 2—The supporting circle Eight to ten players stand in a tight circle,
their feet staggered so they are in a stronger position to catch the center
player. Another player stands in the center of the circle with their eyes closed
and their hands folded across their chest. Keeping their body straight and
stiff the whole time, the player in the center leans in any direction and those
in the circle reach out and catch them, then begin to gently pass them around
the circle, everyone working together to support the center player. They try
to do this smoothly, so the center player is not jostled or handled roughly.
● Everyone on their knees, arms up. Keeping the circle tight, they pass
the center player around.
● One player is on his knees, the one next to him standing. The next one
kneeling, the next standing. Continue this alternating pattern around
the circle. From these positions they pass the center player around.
● One player is on his knees, the one next to him standing, the next one
lying on their back, feet up, to catch and shift the player with their feet.
Alternate these positions around the circle. Pass the center player
around.
● All the players are lying on their backs, feet up. Pass the center player
around using only the feet.
● The players go from standing, then kneeling, ending with everyone on
their backs, feet up, all while keeping the center player moving around
the circle. When all are on their backs, they reverse the order, moving
to the knees and then all standing. The movements can be staggered—
some going on their knees while others are still standing—or the group
can try to all go down on their knees at the same time (with one player
holding the center player as she drops to her knees), then onto their
backs as they pass the center player around the circle.
CHAIR GAMES
These variations with chairs combine both competition and
cooperation. They get the players to explore the change in energy
from sitting and waiting, to suddenly running about (this change in
dynamic is important for physical comedy). They’re good for ensemble
building and I’ve used them to develop and enhance group scenes.
Props: Tape or rope to mark a finish line, enough chairs for everyone in the
class, plus extras.
Energy 55
Room prep: Use sturdy chairs and check that none have splinters or weak
parts, sharp points, or loose screws. Do this check every time the game is
played.
Physical prep: Variations 1 and 2 require some fast moving, so do a short

warm up such as a game of Tag or Group Locomotion from Section 1.
Variation 1—Caller in the middle The group is divided into three equal teams.
Each team is given a name: Hoppers, Striders, Sidesteppers. The name
signifies how they must move. Chairs are set in a circle with at least two
meters between each chair. There are enough chairs for every player except
one: she is the first Caller. She stands in the middle of the circle and calls
out a team name: that team must switch chairs but move towards them
according to their name. So, Hoppers hop to a new chair, Striders take long,
striding-forward steps, Sidesteppers take long steps moving sideways only.
The Caller must move the same way as they try to get to an empty chair
before the team members do. If the Caller fails, she calls out another team
(the Caller can do this immediately after stepping back into the middle
or pause before calling). If they do get a chair, the person left standing
becomes the new Caller (the former Caller becomes part of the group she
called out).
Note: The adviser can call the teams other names to force the players to move
in other ways: Backers (players walk backwards), Flappers (players flap their
arms as they walk like chickens), Little Steppers (players take small steps), etc.
Variation 2—Numbered chairs Numbers are written on small sheets of paper,

one for each player (start with the number 1). These are put into a hat and
each player chooses a number, memorizes it, and keeps it secret. They put the
papers back in the hat. Chairs are set in a circle as in Variation 1. One
player—the Loner—stands in the middle of the circle. They call out any two
numbers. The players with those numbers switch chairs. The Loner tries to
beat them to one of the chairs. If they don’t make it, they return to the middle
and try again. If they do get a chair, the one left standing becomes the new
Loner, goes to the middle and calls out two new numbers.
The Loner won’t know who has what number at first, so it’s a guessing
game as to who will get up each time the numbers are called (one tactic for
the Loner would be to deliberately lose in order to learn a player’s number
and take her chair when her number is called again). The players in chairs
also don’t know who has what number so there will be a moment when all
are waiting to see who will move.
● When the Loner manages to get a chair, the players choose a new
number from the hat before resuming the game. This keeps everyone
guessing on every turn.
● Have three of every number in the hat. So, with a group of twelve
players, have three 1’s, three 2’s, three 3’s, three 4’s (if there is an odd
number, have a group of four with the same number). When a number
is called by the Loner, three people must switch chairs.
Advice
● “Play with time: You can move immediately when numbers are called
so there is a mad scramble by all, or, sit calmly, make eye contact, covertly
find out who has the numbers called and is ready to move . . . then run!”
Variation 3—Chair race The adviser tapes a finish line at one end of the room,
far enough from the wall for four chairs in a line to cross over it (or just one
if space is limited). The players set out two or more rows of four chairs each,
one behind the other, at the other end of the room, facing the finish line.
Three players sit in the first three chairs of each line (each row has an empty
chair at the back end of the line). The players practice: the third player in
each group reaches back and takes the empty chair behind him and passes it
forward down the line to the front (everyone must stay seated while passing
the chair). The players then move up one chair and begin again, with the
third player grabbing the empty chair behind him and passing it forward
each time. This continues until all chairs, in a straight line, cross the finish
line (if there is not enough space, the winner is the group that gets one chair
over the line and the group all shifted forward, the empty chair at the back).
Once the players have practiced, they race. The adviser gives the signal and
the first group to cross the line wins.
Note: Make the rule that the players cannot lift their butts off the seats nor
move forward until the chair is set in front. Nor can they stand and set the
chair further forward to move the line along faster. The player in front must set
the chair at arm’s length in front of him, keeping his butt fully on the seat.
Disqualify any who take shortcuts.
Energy 57
RACES
Like Tag, there are dozens of variations on games that involve racing
one another to a finish line. And like Tag, they’ll help the adviser to
get an idea of what sort of tactics the players gravitate towards in
the midst of playing; useful information when they start working in
duos, trios and ensembles. The players should take note of what sort
of tactics they come up with; they could be used to develop
relationships and status play within a scene or routine (more on this
in Sections 7–10). Races are good for warming up the class, as well
as teaching balance and body control.
Props: Three-meter strips of crêpe paper, two supports to hold crêpe paper
finish line, 30cm long sticks or rolled up newspapers taped to create a baton
for relay race, large sheets of newspaper.
Variation 1—Slo-mo race A finish line of crêpe paper is set at one end of the
room between two supports. Divide the groups into teams of five. The first
five go down into a runner’s starting stance at the other end of the room
from the finish line. All others stand on the sidelines as the cheering audience.
The adviser calls out, “On your marks . . . get set . . . GO!”
Always moving in slow motion, the players run towards the finish line.
They cannot stop moving, must lift their feet high with each step, and take
long steps (this will help them cover distance as well as teaching body
control). When the players reach the finish line, they mustn’t speed up in
order to break the paper tape, win or place. Anyone who does is disqualified.
The slo-mo race continues until all the players cross the line.
While this is happening, the audience on the sidelines is cheering in slow
motion, screaming out the name of their favorite runner, shouting
encouragement.
Variation 2—Slo-mo cheaters Runners cheat, trying to trip, block and thwart
the other racers to gain an advantage, all in slow motion, always moving
forwards. The adviser should caution the players: “Don’t get so lost in cheating
that you forget to win the race!” The audience reacts on the sidelines as above.
Variation 3—Slo-mo relay Teams of three players do a relay race in slow

motion. The players race to one end of the room, hand the baton to a
teammate, who races back to where the first player started. They hand the
baton to the third player who races back to the finish line.
Advice
● “Explore—and enjoy—moving in slow motion. It’ll help you focus on
the mechanics of moving, on articulation, balance and precision.”
● “Keep the whole body—including the face—animated and moving,
actively participating in the game.”
Variation 4—Partners paper race The adviser lays down a rope to represent
the finish line at one end of the room. The players partner up. Each pair is
given two sheets of newspaper (the sheets need to be large enough for both
players to stand on without their feet touching the floor). Pairs spread out at
one end of the room, at least ten meters from the finish line. The adviser
signals the start of the race.
One member of each pair sets down a sheet of paper, then both partners
step onto it, taking care not to crumple or tear it. No part of either partner’s
feet can make contact with the floor. If they do, they’re disqualified. The
second sheet of paper is set down and both step onto it. They reach back to
pick up the other piece, set it down in front of them and step forward. The
adviser makes the rule that either both players have to pick up the paper
together or that they alternate who picks it up. This continues until one pair
reaches the finish line, both crossing over by stepping onto a sheet of paper
and picking up the one behind them.
A variation can be added as follows:
● After all the players cross the finish line, papers are held up: the pair
with the best-preserved papers—least crumpled or torn—wins, even if
they were the last to cross.
Variation 5—Tear paper race The players work as solo racers: each one has a
large sheet of newspaper. They spread out at one end of the room, at least ten
meters from the finish line (this distance will be determined by the size of
the newspaper sheet: how many pieces can be torn off to reach the finish
line? See instructions below). The adviser signals the start of the race.
The players set a full sheet of paper down, step onto it, then tear away a
piece large enough so when they set it down and step on it, no part of their
feet will touch the floor. They place it ahead of them and step onto it. They
pick up the larger piece behind them, set it down, step, tear off another piece
Energy 59
and continue this pattern (they cannot carry forward any of the pieces
they’ve torn off ). This continues until one of them reaches the finish line,
crossing over by stepping onto a sheet of paper.
Players can tear the pieces as large or small as they want as long as they
maintain their balance and no part of their body touches the floor.
● The players tear a sheet of paper off the larger piece, set it down, step
on it, then tear off another piece, set it down, step, etc. This method is
easier because the players don’t have to keep reaching back to pick up
the larger paper behind them; they are always moving forwards.
RELAX
A great way to end a class or after any vigorous game. These
variations both relax the players and help build physical complicity
and trust.
Variation 1—Slap down Three players. One person stands between the others
with eyes closed, arms at their sides, feet parallel, body relaxed. He is the
Receiver. Two players on either side of the Receiver inhale together and,
starting at the top of the head, tap, pat, and slap the Receiver’s body, working
their way together to the person’s feet, giving the Receiver a relaxing pat
down. If the Receiver wants a more vigorous patting, they say “more.” If the
patting is too hard, they say, “less.”
When their partners finish tapping the tops of their feet and toes with
their fingertips, they inhale, raise their arms over head and, as they exhale,
ever-so-lightly run their fingertips down the Receiver’s body to their feet and
then throw their hands outwards, finishing with a strong exhale, throwing
away any tension and bad energy. The fingertip pass is done three times. The
Receiver is given a moment to appreciate the experience, then another
partner becomes the Receiver and they repeat the sequence until all have
had a go .
Variation 2—Raft Six to seven players. One is a Raft; one is a Passenger. They
stand back-to-back. Raft squats down so her butt is below the Passenger’s.
She reaches back and grabs the Passenger’s hips, then cantilevers her body
and bends forward as the Passenger lays back; she lifts him up onto her back,
lifting with her legs. Other players are Waves. They assist the Passenger onto
the Raft’s back, supporting him as he is lifted: one player takes the Passenger’s
head in her hands, one player on each arm, one on each foot, to support
them in the lift.
The Raft begins to roll her spine, shifting her body from side-to-side,
swaying, etc. Waves manipulate arms, legs and head and occasionally blow
across the Passenger’s body; it’s a gentle, rolling, swaying motion, evoking a
raft on calm waters with a gentle breeze blowing. The Passenger breathes
deeply and enjoys the ride.
After a minute or so, the Raft and Waves gently lower the Passenger to his
feet.
Switch roles until everyone has had a go.
Summary
How often do adults play like they did when they were kids, in an open-
ended, inventive, imaginative way? In this section, children’s and theater
games were tweaked, and variations added. This introduces students to the
clown’s approach to play, one that is constantly seeking variety and new
possibilities. In some variations, the players were encouraged to play at a
heightened—theatrical—level, to imagine the game as a performance; this
should be encouraged for all games (more on this in Section 10: The rules,
the script, the game, the play).
The games are also a chance for the adviser to gather information, to get
an idea of what sort of tactics the players gravitate towards in the midst of
playing. Because people are less self-conscious when they’re fully engaged in
a game, an adviser can gain useful information about each player’s tendencies,
their physical, mental and emotional reactions to the games, and how they
might work in a clown duo, trio, and in the ensemble as a whole. The players
can also use this information when devising a clown scene or routine
(Section 14: Devising for Clown and Physical Comedy). These games are
also important physical warm-ups that teach agility and body control. This
prepares them for the next section on physical expression.
Figure 3.1 Christian Schneider: The talking body. Photo credit: Eric Gillet/Shoot
That Klown.
62
3
The Talking Body
Silence on the Streets

I’ve often worked in large venues where the body was the primary
communicator: three-ring circuses, street theater, outdoor spectacles,
stadium shows. Through training and experience I learned to express myself
without the use of words. But when I found myself creating a new show for
the street festivals of Europe, performing solo in large plazas, playing for
hundreds, I began to doubt my silent communication skills.
The majority of the street performers I’d seen used words, and through
my own outdoor work with the Abbotts of Unreason and Los Payasos
Mendigos, I was led to believe that the only way you could gather and win
over a crowd on the street was to talk to them.
This new show featured a silent character that had been a slapstick walk
act for years, slipping, sliding, and tumbling down steps, off stages and down
ladders. My body used whatever space I was in—and whatever was in the
space—as a partner. But the thought of using this quiet character to gather
and hold a large crowd on the street, intimidated me no end, despite my
training and experience.
I did some tryouts with him talking but found that I was letting my voice
dominate the conversation; once I opened my mouth, I paid less attention to
communicating with my body and the audience focused on my words. So, I
went back to silence, to the earlier experience I had as a clown handing out
balloons; all the words in my head had to be expressed through my body and
its play with the world around it.
The show had a tough learning curve. It was called—appropriately
enough—The Trap. But as it evolved, my physical communication skills
improved, my training was transmuted into play in the crucible of live
performance, and I gained a greater appreciation of stillness, of letting the
63
Figure 3.2 Joe

Dieffenbacher as the
janitor in nakupelle’s
The Trap. Photo credit:
Matilda Dieffenbacher.
shape of my body at rest speak to the audience. I became conscious of every

little detail: the position of my head, the way I held my shoulders, the shape
of my spine, how that affected my pelvis, and the position of my feet. All
these things were speaking to the crowd whether they were conscious of it or
not. But as the creator of the show, I had to be conscious of it.
The ability to carry comedy, character and story in the body and express
it physically is crucial to clowning, but because we communicate verbally
every hour of every day with everyone we meet, most of us lack a truly
expressive body. We haven’t built up the muscles to hold a strong pose or a
facial expression that communicates a powerful emotion. We’re “out of
shape” in regards to physical expression. The exercises in this section aim to
make the players conscious of the power their body has to express ideas,
thoughts, and emotions. They’re important not only for developing a greater
The Talking Body 65
emotional range and expressing that physically, they also help build the
necessary muscles to do so.
This is technical work and it requires practice. I repeat these exercises in
class as well as encouraging the players to do them on their own time.
Training a body to be physically expressive to the degree necessary for clown
and physical comedy can be a workout: the body is used in ways similar to
an acrobat or dancer, as well as connecting with the audience on an emotional
level the way an actor does. The players have to think about the scene, skills
they may need to incorporate, staying aware of their partners, connecting
with the audience . . . It can be exhausting if they don’t train well.
Instruction in any body-focused art form—acrobatics, dance, mime—is
useful as long as a player doesn’t pursue it to the point where their training
becomes obvious, their muscles confined to a certain way of moving; they
risk losing their body’s natural expressive power. Skills training should serve
to reveal the clown, not just as a way to show off: slapstick comedy is a perfect
example of hiding acrobatic training in order to create comic play, a way of
responding to the world that inspires not only laughter from the audience,
but empathy (see Buster Keaton or Jacque Tati’s use of slapstick).
Underneath the best clowning there is specificity and structure, technique,
and skill. Training in technique may seem boring to those who just want to
play and improvise, but like a pianist who has to practice scales over and
over again so she can cut lose in performance, a clown must work the
technical aspects of her craft in order to raise the standards of her art and
enrich the experience for her audience.
The following exercises include elements of mime, acting, movement and
dance, and use physical play to connect students to the space they’re working
in. Here I introduce the Five Elements: a way of breaking down a performance
into its most basic actions. This begins the process of making the players more
aware of their body in relation to the performing space, and how to use both
body and space to introduce their clown to the audience. These exercises also
explore ways to create scenes that have a stronger emotional and visual impact.
DANCE!
When it comes to physical expressiveness, a lot can be learned
about students by putting on some music and watching them move.
Where do they hold tension? What parts of their bodies are more
flexible, the most expressive? How do they respond to and play with
the beat: do they treat the music as a partner or just something to
move to?
The clown is always dancing, even when standing still; something
inside is always moving, flowing. Their dance is a way of
communicating with the physical world in a way that is direct and
integrating. It combines skill, kinesthetic awareness, physical
improvisation and exploration, with a focus on exuberant play.
I like to start classes by having the players dance any way they
please, using it as a free-form warm up. I avoid music with vocals or
songs that are well-known; dancers should respond directly to the
music not their associations with the lyrics or a popular tune. I use
music with strong beats, songs that are easy to follow but also those
that are more complex, both fast and slow. I also use compositions
that encourage flowing, expressive movement.
Props: A ball, hat, or other soft object, easily passed around. Have exercise
balls, bedsheets, foam pool noodles or pipe insulation, costume bits—
anything soft that dancers can play with—scattered about.
Room prep: Gym mats: spread them out for the players to roll over, lie down
on, crawl on, etc.
Dance warm up: The players use free-form movement to loosen up the
body for physical work. This one is good to start off any class.
Lone Dancer: Everyone dances in a subdued, controlled way. The adviser calls
out a name. That player keeps on dancing as all others stop, cross their arms and
stare at Lone Dancer, shocked by his display! Instead of being bothered, Lone
Dancer is encouraged by their disgust to dance even more! Slowly the others
dance again but in a subdued, controlled way. Lone Dancer tones it down, his
dance becomes stiffer like the others. The adviser calls out a new name. This
sequence is repeated until everyone gets a turn at being Lone Dancer.
Lone Watcher: Everyone dances in a loose, joyful way. The adviser calls out
a name. That player stops dancing, crosses her arms and stares at the others
as they continue dancing. Lone Watcher looks on, insulted by the display!
The players dance around her, encouraging Lone Watcher to join in but she
The Talking Body 67
refuses at first. Slowly she loosens up, then joins in the dance. The adviser
calls out a new name. This sequence is repeated until everyone gets a turn at
being Lone Watcher.
Bad dancer: The players dance as awkwardly as possible: eccentric moves,

off the beat, creating clunky shapes, odd shifts in their energy, like they just
can’t find the groove.
Follow the leader: The leader of the dance is chosen and given a prop: a
ball, hat, or other soft object. They lead, all others mimic them. The leader
moves in ways others can copy, repeating movements so followers have a
chance to catch on. After 30 seconds or so, she passes the prop to someone
and this new leader takes over, all following him. The passing of the object has
great importance! Don’t just toss it. The players should treat the hand off as if
they’re crowning royalty. They keep dancing until everyone has had a chance
to be the leader.
In contact: Groups of three or more dance with some part of their bodies
always in contact; all hands, or a palm against a forehead, back against a
shoulder, etc. If they want to switch the point of contact they must do so in a
way that maintains contact with their partners at all times. The adviser bangs
a drum to signal the players to switch partners: they move towards another
group, make a point of contact with a new partner, relinquish contact with
their old one, and dance off.
PLAYING WITH THE BREATH

These variations get the players using their breath in playful ways,
connecting it to movement while exploring contraction and expansion
(an important concept in physical comedy). They help to relax the
players and are a good way to release tension. I’ve also used them
in improvs and scripted scenes, getting all the players to react to a
moment by deflating or inflating.
Variation 1—Deflate–inflate Everyone stands in a wide circle. They take a

deep breath in, and on the exhale, deflate, their bodies collapsing to the floor
(make it a controlled descent). The players can deflate at their own rate or
the entire group works together and tries to all deflate in sync. Then, still
deflated, they take a deep breath in and out, then a deep inhale which causes
them to inflate. Their bodies expand and they float upwards until they’re
back on their feet, bodies full of air, spreading out to their limbs and on
down to their toes (they can take more than one inhalation to inflate if
needed). They bobble like a balloon, do another breathing cycle—inhale–
exhale—then exhale and deflate, repeating the whole cycle a few more
times.
Variation 2—The air doll The players partner up. One is a doll, the other
DI (Deflator–Inflator). The doll puffs himself up so his whole body is
expanded like a balloon full of air. DI pulls the plug (grabs a finger, nose, ear,
toe, etc., and mimes pulling it out). The doll deflates all the way to the floor
making a hissing-deflating sound. DI then mimes a bike pump, connects the
hose to some part of the body, and pumps the doll full of air making hissing–
inflating sounds in sync with her pumping action. The doll matches the
sound of the inflating: a short pump might just expand a finger, a series of
fast pumps might cause the body to expand in a jerky way, a long slow pump
might expand the torso fully; the players work to connect their actions so we
see the cause and the effect. DI can help the doll by lifting body parts so they
are easier to inflate or pick the doll up so he can stand, expand and eventually,
flow and bounce lightly around the room once DI detaches the pump. Switch
partners or repeat the deflating/inflating.
WHERE’S MY CENTER?
A player’s center in this exercise is the place in their body where they
respond to the world and/or protect themselves from it. It’s more an
emotional center than a physical one, but in this exercise, it is
exaggerated until it’s obvious where a player leads from. Are they a
head person, or do they lead with the heart? The belly or the pelvis?
It could be the feet or the hands. In this exercise they locate their
center, lead with it (extend it outwards), then shift it around to find
variety in their movement choices, and more control over their
physicality.
The Talking Body 69
Props: Stage flats or curtains big enough for two people to hide behind, a
chair, a half-meter long wooden club or other weapon (see Variation 7).
Variation 1—My center The players move about, searching for their natural
center. They then exaggerate it, push it out in front of their bodies, leading
with it. For example, if they think they’re head-centered, they extend their
neck forward, the head thrust out, and walk around the room leading with
this. If they’re not sure, they can try various parts of their body to see which
one feels best.
Variation 2—Front centered The players walk, placing their center of

gravity in front of them as if they have a stone hanging from their neck, sitting
at chest level. The weight causes the players to lean forward, pulling them into
walking. They imagine the weight increasing, pulling them forward and
down. The players then walk without the lean: they feel the weight at their
front without showing it in an obvious way. They return to a neutral walk.
Variation 3—Back centered The players imagine a stone hanging behind

them, sitting between the shoulder blades. They imagine the weight
increasing while walking forward, causing them to lean back as far as they
can. The players then walk without the lean: they feel the weight at their back
without showing it. They return to a neutral walk.
Variation 4—Side centered The players imagine a stone hanging off their

right side. As they walk, the weight increases and they lean to the right as far
as they can. The players then walk without the lean: they feel the weight at
their right without showing it. Repeat on the left side. They return to a
neutral walk.
Variation 5—Belly centered The players imagine a stone inside their belly.
They explore ways of showing the belly weight, flexing in the knees, pushing
the belly out, etc. The weight gets heavier, slows the player down, makes it
hard to move. They then express the weight of the stone without showing it
physically: it encourages a slower, more grounded way of moving. They
return to a neutral walk.
Variation 6—Stone overhead The players mime throwing a fist-sized

stone over their heads a few times, getting the feel and weight of the stone
fixed in their minds, showing the weight and size by how they mime the
throw and the catch. Once they have this, they toss it up three times. On the
third throw, it stays hovering directly over their heads, slightly forward. The
adviser reminds the players, “Don’t look up. Just keep the awareness of the
stone in your mind.” The players do simple actions—walking, sitting in a
chair, putting on a coat, etc.—while maintaining the image of the stone
hovering overhead, placing their center in the stone above.
Now they imagine the stone dropping back into their hands. They toss it
up again, let it hover, take a few steps, then let it drop. Repeat this a few times.
The players mark the difference in their physicality when the stone is
hovering above and when its in their hand. The players return to a neutral
walk.
Variation 7—The threat A chair is set center stage. Two players stand
behind a flat, one has a weapon (e.g. a wooden club) in her hand, the other
enters, goes to the chair, sits in it, makes eye contact with the audience for
a few moments, stands and exits. During this sequence, the player onstage
keeps the image in their mind of someone behind them with a weapon. The
player with the weapon allows herself and the weapon to be seen from
behind the flat but does not attempt to do anything other than be seen;
she doesn’t make any threatening gestures or faces. The adviser can side
coach, reminding the player about the person with the weapon, lurking
behind them. The player onstage shouldn’t look back at any time. They
act out a simple scene with his center of focus outside themselves, on
something threatening behind them. The players switch roles and repeat the
exercise.
This can be done with any simple action: tying a shoe, putting on a coat,
sweeping the stage, etc.
Advice
● “What energy, emotions or character does each version of the weight
suggest?”
● “Can you use the shifts of the stone for comic effect? For example, play
with shifting your center around your body to show drunkenness.
You’ll appear drunk as you tilt right, left, backwards and forwards,
but have more control over how you move.” (See Charlie Chaplin in
One A.M.)
● “How does it feel to carry out a simple task while feeling threatened,
your center of focus tinged with fear? Can you be conscious of it
The Talking Body 71
without holding too much tension? Let the point of focus create a
heightened awareness, an expressive apprehension in your body.”
SCULPTURES
This exercise is a good combination of observation and ensemble
play as participants learn to memorize and imitate the physicality of
others; they encourage the players to find ways to consciously
reshape their bodies. These impressions could be used to create
tableaus in scenes, or a chorus effect, with a large group of the
players all assuming similar poses. It’s also good for duo, trio or
ensemble clown scenes, using imitation to make fun of partners,
develop complicity, as well as physical play.
Props: Enough sturdy chairs for all the players.
Variation 1—Chair sculptures The players form groups of five. Each group
sets a circle of chairs separate from the other groups. They place themselves
in a physical relationship to the chair. For example, sit on it, drape over it, lie
under it, curl up in a ball on the seat, etc. They give these “sculptures” their
names. For example, if Johnny stands on the chair with his arms open wide,
that sculpture is, “the Johnny.” Each player does their pose for their group,
the others memorize it by imitating it, and remembering its name. Once all
the sculptures have been learned, the players walk around the chairs. One
person in each group is chosen to call out a name. “The Johnny!” The players
choose any chair in their circle and strike the pose. If a player forgets the
sculpture, he gets on a chair and adjusts his body as he gets visual clues from
the rest of the group for the sculpture. When all have recreated the sculpture,
the game begins again. The person whose name was called—Johnny in this
case—now calls out the name of a different sculpture.
Variation 2—Body sculptures Same as above but without chairs and with
the whole group. Each player creates a sculpture with their body only and
names it. Once each player has shown their sculpture and they’ve been imitated
and memorized by the group, they walk around the room. The adviser calls out
a name, “The Jane!” and the players strike the pose created by Jane.
Advice
● “Don’t stress if you can’t recall each pose: make a choice and adjust as
you pick up clues from the group. Enjoy the game of it, the play with
the ensemble remembering together!”
● “Consciously choose to use the group to remember the pose not the
originator.”
THE BODY MASK

A body mask is a strong physical pose that creates a full body
expression of an energy. For example, imagine you were going to
sculpt the emotion jealousy, how would it look to you and how would
you shape—sculpt it—with your body? Finding a strong body mask
can help you fully inhabit an energy; you can return to the body mask
at any moment if you feel you’re losing the energy; you can use it to
clarify the energy for the audience (especially when playing in a large
venue or within a group); you can use it for comic effect, returning to
the body mask after losing yourself in an emotional outburst.
Strong energies that are habitual for a clown can each have a body
mask. They can be used to create strong visuals that are like still
photos of the energy. These moments of stillness are crucial to good
comic timing: it gives the audience—and the players—time to focus,
attune their eyes to the action, gather and aim their energy towards
the next moment. These body masks enable the players to effect
pauses in the action without stopping the play: though still, the body
masks are dynamic and revealing.
Props: Mirrors large enough to observe the entire body. Or have the players
observe each other and give feedback.
Variation 1—Sculpted energy The players stand before the mirrors (or
partners). The adviser calls out an energy. For example, fear, sadness, anger,
joy, lust, greed, defeated, victorious, impatient, confused, suspicious, proud,
awestruck, paranoid, etc. The players assume a strong pose that they feel best
expresses the energy. The pose is not frozen but held: a player can make
small adjustments, move their head or eyes, and use their breath. She holds a
The Talking Body 73
strong attitude, present but not overly animated. The adviser side coaches,
encouraging the players to take note of all parts of the body, “Are your hands
expressing pride as well as your face? What about your proud buttocks, your
arrogant elbows, your conceited belly, your superior spine? Are all parts of
your body working together to express the energy?” When the players have
found a strong body mask, using all parts of their body (including their
breath), the adviser tells them to let it go, gives them a moment to breathe
and relax, then calls out a new energy.
The adviser reminds the players to think about their spine: how does its
shape help to create a strong body mask? The players should work to keep
the energy flowing when holding a pose, don’t tense up or lock the limbs;
stay alert and relaxed in the pose and remember to breathe. The players
explore a number of body masks for different energies, then the adviser calls
them out and claps after naming each one: the players go through each pose,
switching to a new one with each clap.
The adviser can have the players try different body masks for the same
energy. For example, how many different body masks can a player create to
express joy? Is there one that expresses the energy best for their body type?
If mirrors aren’t available, have the players partner up and the adviser
calls out an energy: one player sculpts himself while the other gives
suggestions to help make the body mask more expressive.
Variation 2—Energy variations Four people get up in front of the class.

The adviser calls out an energy, for example, “Love!” The players assume a
body mask of love, all at the same time. He says, “Let it go” and the players go
back to a neutral stance. He calls out another energy, and the exercise
continues. The benefit of this variation is that observers have a chance to see
how the same emotion manifests itself on different faces, different bodies,
and how they choose to sculpt it.
Variation 3—Levels and contrasts The players continue to explore body

masks but play with contrasts. For example, be afraid but be tall and upright.
Be proud but cower. Be angry while sitting down, etc. What do these contrasts
feel like, for example, to be proud yet bent over, the body pulling inwards?
Variation 4—Outburst The players assume the body mask of an energy

(the adviser can choose one for them if she feels there is something the class
or an individual need to work on). The players imagine the energy building
until their body explodes with it from the still pose to a series of expressive
gestures and movements that convey the explosion of the energy in action.
After a few seconds, they snap back into the same body mask/still pose they
began with. The players explore this exchange between explosive, uninhibited
movement expressing an energy, and then a still, subdued pose of the energy,
for comic and dramatic effect. The adviser asks them to play with different
energies, their body masks, and their outbursts. The outburst can be triggered
by seeing another player, an object in the room, or for no reason other than
the energy needs to express itself in action.
Advice
● “What is the strongest body mask of the energy that can be expressed
with your body? Ask others for feedback.”
● “Can you use your clothes to enhance the sculpture, to express the
energy more effectively? Can you use your hair, the position of your
feet, the shape of your spine, etc. Stay aware of all details including
shape, color, and body line.”
● “Beware of holding too much tension. Support yourself in the pose,
don’t lock into it.”
● “Stay aware of your breath, how it’s affected by the different energies
and how it expresses itself in movement.”
VISUALIZATION
Ringling Bros. and Barnum & Bailey veteran circus clown Frosty
Little once had me walking around with gravel in my shoes because
he wasn’t satisfied with how I was miming walking on hot coals
(thankfully he didn’t make me walk on hot coals). Imagining
environments you must pass through helps to develop physical
expressiveness and encourages a more inventive use of the body.
This can be used in scenes not only to evoke a setting but to create
comic interaction between the players. For example, two clowns
carry trays full of dishes in contrasting ways, one as if walking on ice,
the other like they’re trudging through mud. This exercise begins the
study of consciously connecting the body and its movement with
the playing space.
The Talking Body 75
Props: Any props needed for Variation 3.
Variation 1—Environments The players move around the space imagining

they are walking through different environments called out by the adviser.
For example, on a slack rope, barefoot on hot sand or on gravel, slick shoes
on an icy road, slogging through quicksand, lifting their feet out of sticky,
heavy mud, pushing their whole body through Jell-O, walking through a
bitterly cold landscape with the snow blowing around them, through a
baking hot desert, through a strong, blustery wind at the edge of a hurricane,
etc. They should be encouraged to use the entire space, along the walls, onto
levels, down near the floor, etc. It’s not charades: the environments are meant
to inspire movement choices, not to enact a scene. For example, if the
environment is a slack rope, the players don’t need to walk in a straight line
but should move as if they are trying hard to stay balanced.
Variation 2—Environments on a grid The players move through

environments as above but in a designated area in a grid pattern, walking in
straight lines. All changes in direction are taken at sharp 90º angles (e.g. even
when walking on slippery ice).
Variation 3—Environments with a task Same as Variation 1, but the

players perform a simple task. For example, walking towards a chair and
sitting in it while barefoot on hot sand, sweeping during a strong, blustery
wind at the edge of a hurricane, carrying a cup of water on an icy floor,
carrying a cardboard box while walking through heavy mud, etc. The players
should use actual props.
● Take a scene—one that the players have devised or from a known play
or story—and put it in a certain environment. Then play it in an
environment on a grid, then give the players props to handle.
Advice
● “Stay aware of how the different environments affect the quality of
your movement. Develop it, make it more eccentric, expressive.”
● “How do the environments and the movement they inspire, affect your
breathing?”
● “Does moving on a grid through the environments affect the quality of
your movement and your breathing in ways different from moving
randomly as in Variation 1?”

● “How do each of the environments make you feel, and can you express
that in movement?”
● “How can visualizing an environment help create eccentric movement
and comic play, not just illustrate or mime a specific environment?”
THE FIVE ELEMENTS

Over the years, working as a teacher and director, I have witnessed
too many students and actors simply walk onstage and move quickly
to their act or scene, starting it before I had a chance to get to know
who they were. I saw a huge wasted opportunity: their entrance,
and the movement to the space where they would do their act or
play their scene, was the perfect time to introduce themselves
visually and physically, hint at what they were feeling (or playfully
disguising it), and create suspense—or least an expectation—about
what they were going to do.
Based on my reading of a number of physical theater practitioners,
I developed the Five Elements, breaking down a scene or routine
into five sections. I wanted to help the players clarify an act or scene,
make them more aware of the physical space they were playing in,
and how to use it as a partner. But most of all, to use the Five
Elements to draw the audience in and expand on a player’s
performance, reveal something about their clown or character and
the story they wanted to tell. Every part of the stage was treated as
a living partner rather than just a space to move through quickly so a
player could get to their act; interacting with the space is crucial to
clown and physical comedy. Once the players learn the Five
Elements, they should be reminded to use them any time an exercise
calls for a presentation on stage.
The Five Elements are:

1 Enter
2 Move into the space
3 Present
4 Leave the space
5 Exit.
The Talking Body 77
1. Enter This is the audience’s first impression of the player. How they enter
can make the difference between the audience being welcoming, curious,
drawn to them (even if their entrance makes them uncomfortable), or
uncertain, guarded or disinterested, forcing the player to work harder to
connect with them once the act or scene kicks in.
A player shouldn’t enter thinking, “My scene doesn’t start until I hit my
spot onstage.” Entering starts backstage! A player doesn’t enter from a void
or without thought or emotion; their entrance expresses something about
who they are, where they came from, and/or what they’re about to do. The
players should use their entrance to hint, suggest, generate interest, suspense,
or tension, right from the start.
Note: A simple technique is to take four or more steps away from the point of entry
onstage, so a player has time and space to get energized before they’re revealed.
2. Move into the space The area between the place from where a player
enters, to the spot where they’ll present, is an opportunity to draw the
audience towards them, tell them a bit about who they are and how they’re
feeling. For example, walking directly to center stage might suggest a
confident player ready to put on a show! Moving in a series of straight lines
and angles might suggest a regimented player who likes to follow rules. A
player who sticks close to the curtain as she makes her way stage left, may
strike the audience as shy, reluctant, secretive . . . What would moving in
wavy lines, diagonals, circles, or zigzagging hint at? Each shape will suggest
a different story to an audience, so by the time a player starts the main act or
scene, the audience already knows something about them.
Note: In the entrance and moving into the space the players can toy with the
audience, using this time to get familiar with them, especially if they are offering
an eccentric or surreal act. The time a player takes for this will depend on the
act or scene, the style of the show and the performance space.
3. Present This is the main body of the act or scene. The players have
introduced themselves with their entrance, given the audience a bit of info
about who they are as they moved into the space, and now the crowd is
sitting back (or on the edge of their seats) ready to get to know them better.
The players usually rush to this moment—and sometimes that’s for the
best—but even in rushing to present, they should stay conscious of the
elements before this and use them to their advantage.
The players should consider where they present as well. Performing at the
front edge of the stage might appear desperate, begging for attention. A player
who strides directly to center stage, may express that she’s confident, ready to
play. One who presents far upstage may appear suspicious or afraid of the
crowd. The stage—and the scenic elements on it—should be imagined as a
huge frame: where do the players place themselves in order to create the best
stage picture and give the audience information about them and their scene?
4. Leaving the space This usually happens quicker than moving into the
space. The act is over and the player wants to get offstage before the audience
stops clapping. But they can use the leaving to play with the applause, starting
to leave but coming forward for more. They could exit with the same movement
pattern they entered with—their presentation or scene hasn’t changed their
energy. Or they could move off with a totally new pattern: She entered in
straight lines, left in wavy ones. She went from regimented to loose and crazy!
In physical comedy, the players use their bodies in relation to the space, to
tell a story visually. When we watch a performer onstage, we may think the
information about her is all coming from her face or voice, but we’re reading
her body language as well – a body in conversation with the performing
space—whether we realize it consciously or not. The players make it
conscious by using the Five Elements in informative and intriguing ways.
5. Exit This is the goodbye, the last impression the audience will have of a
player. I’ve heard it said, “Make a great entrance and a great exit, and the crowd
won’t care what you did in between.” That’s not completely true, but it says
something about the importance of how the players bookend their presentation.
Leave them wanting more! Or satisfied/happy/thrilled they got to spend time
with the performer. Does the player pause before leaving, or race off? Do they
take a running leap, cartwheel offstage, hurl the curtain aside as they exit, or
slink off slowly, impishly, like they don’t want to go but they must?
The following exercises use the Five Elements, explore variations, and
encourage a deeper understanding of how to integrate them into an act or
scene.
Props: Stage flats or curtains for entrances and exits, miscellaneous props.
Variation 1—Punctuation Three players wait backstage. The first player

takes a deep breath, enters, then exhales. They inhale again, move into the
space to where they will present, then exhale. They inhale, then exhale as
The Talking Body 79
they present (keep this simple—bow, wave, smile, clap, jump up, etc.). They
inhale again, move towards where they will exit, exhale. Inhale, have a final
moment with the audience, and exit on the exhale. The breathing will help
with timing, separating each element (for player and audience), and act as
punctuation. Each breath can be different – a fast inhale followed by a slow
exhale; a series of short in-breaths followed by a long, full exhale, etc.
● The punctuation could be a sound instead of the breath. For example,

the player comes to a complete stop, then clicks her tongue, claps her
hands or stomps her foot, to mark the end of each element.
● The punctuation could be marked with a word. For example, the player
comes to a complete stop, and says, “Yo” or “Wow” at the end of each
element.
● The punctuation could be marked with a movement. For example, the
player comes to a complete stop, then crosses her arms, does a little
dance, or does a karate kick, at the end of each element.
Each player’s turn is short, simple, they don’t make a scene out of it, or try to
be clever or funny. It’s a chance to practice these elements by separating
them in a conscious way. The adviser may ask a player to pause a little longer
in the present, letting the audience take her in, get to know her visually
before leaving the space.
Note: We all have a certain energy even when we are trying to be relaxed and
nondescript—our version of normal. But our bodies tell a story even at rest and
that story is brought into greater relief onstage. An audience will ask questions
about a player, wonder who they are, what their history is: Why does he walk that
way? Why does she hold so much tension in her shoulders? Why doesn’t he swing
his arms when he walks? Why is their face so open? A player needs to understand
what he suggests to an audience when he is just “being himself.” He needs to
discover what impression his face and body give when he is making no effort.
Much can be learned from having the players move through the Five Elements
without pretense or performance. Observers should feel free to take notes, give
feedback: what impressions did they get from their partner’s simple scene?
Variation 2—minimum-to-MAXIMUM The players go through the Five

Elements expressing an energy. They build it—go from minimum-to-
MAXIMUM—as they progress through the sequence. For example, the
energy is frustration:
1 Enter: Player struggles to get through the curtain. Once past it he

holds a body mask of frustration.
2 Move into the space: His frustration builds as he paces around the
stage: he can’t decide where to present.
3 Present: He tries to do a dance routine but can’t recall the steps and
gets more frustrated (the present becomes a dance of frustration).
4 Leave the space: He starts to go but things get in his way—he trips,
can’t find the opening in the curtain, can’t believe he forgot the dance
steps!
5 Exit: He gets tangled in the curtain, pulls it open further as he stumbles
off. There’s the sound of a crash backstage, a final shout of his frustration
peaking.
Advice
● “How does the energy affect each element? A joyful person might
throw aside the curtain to reveal himself when he enters, pull it
downstage to get more play out of it as he moves into the space, open
his arms wide as if to embrace the entire audience in the present. As he
leaves the space, he does a cartwheel, rolls himself in the curtain, letting
it embrace him as he exits.”
● “In a minimum-to-MAXIMUM exercise, always increase the intensity
and energy. Keep moving towards an explosion!”
● “Don’t tense up in order to peak. As you move towards the explosion
and get bigger, try to go deeper. You can choose to go BIG yet stay cool,
become more focused and passionate about what you are doing.
Escalate and expand the experience.”
● “It does not have to get manic or panicky. It can also be quiet, tender,
sad or rapturous. It just needs to build within the energy that’s chosen.”
LOOKING OUT
There are different schools of thought about when a clown makes
eye contact with the audience. Some say the clown should always
be looking at the audience; this keeps them connected to what the
The Talking Body 81
clown is doing. I prefer that the clown uses this technique sparingly,
choosing her moment to bring the audience in with her eyes. For
example, use the eyes to ask a question, “Did you see that?” Or to
encourage a response from the audience at opportune moments.
The eyes are used to share the clown’s struggle, joy, mischief,
curiosity, etc., either when those energies peak—a place in the
scene when the clown experiences unbridled joy, for example—or
glancing out as the energy builds to encourage the audience to join
the clown on the journey.
If overused, the looking out risks distancing the clown from the
world she’s creating onstage. It may appear that she’s not fully
invested in what’s going on in her world, too distracted by the
audience, or too much in need of their attention. If the clown is fully
engaged with what she’s doing, if she commits to it, that commitment
will draw the audience in. “What has her so enthralled?” they ask.
“When will she share it with us?” This can build curiosity, suspense,
and the pleasure of being let in on a secret once the clown finally
does look out. The eyes then become a powerful tool to tease, charm
and invite the audience in, rather than a constant call for attention or
approval.
Below are a number of variations on using the eyes. Depending
on the size of the class and the time available, you can let a few of
the players try one of the variations then move on to another group,
or choose to have everyone try each one. They are meant to be
explorations, not scenes: the players observe the effect it has on an
audience (both when they’re onstage and while watching others)
and consider how they’ll use this technique in an act or scene.
The deliberate use of the eyes is a simple way to connect player
to audience, and when used in conjunction with the Five Elements,
connect the audience to the action and the playing space.
Props: Two stage flats or curtains to create wings with a gap of four meters
between them, miscellaneous props (see Variations 3–5 for ideas).
Variation 1—Group rounds Three players wait backstage. They enter

together, move across the stage and exit (use the Five Elements). As they run
this, the trio never makes eye contact with the audience, from the moment
they enter until they exit.
They enter again, this time always looking out at the audience. They enter
with eyes looking out, make contact with the crowd right away, and keep
looking at them until they’re completely offstage (even if it means scrambling

to find the exit because they must not look to see where it is).
They enter again, but the trio choose to make eye contact only once
during the journey. They tune into each other, so they all look out at the
same moment. It can be at any time—as soon as they enter, while crossing
the stage, or just before they exit.
For the final round, the trio chooses a combination with the eyes. For
example, two players looking out, the third never making eye contact with
the audience. Or one player looking out, the others never making eye contact.
One looking out, one choosing her moment, the third never making eye
contact. They stay this way as they run the Five Elements.
Variation 2—Group task Three players wait backstage. They choose a

simple task, for example, carrying a box, pushing something across the stage,
arranging chairs, sweeping, etc. They enter, carry out the task as they cross
the stage, then exit. The first time they cross they never look out. They exit
and enter again, always looking out at the same time performing their task.
They exit and enter again, this time choosing one moment to look out as a
group. For the final round, the trio chooses a combination with the eyes as
explained in Variation 1.
Note: The entrance, cross and exit should be short, the task, simple. Let the
rounds of enter-cross-exit, with the variations on looking, help develop the
relationship, the activity, and the play with the audience. The players mustn’t
force anything to happen but let the scene and their relationship grow out of
the progression of how the eyes are used over the three scenes.
Variation 3—The observer One player sits on a stool or chair placed center
stage. Three players wait backstage, each with a prop. They use the Five
Elements for this exercise. The first player enters holding his prop in any
way he likes with whatever energy he chooses to play with – he’s angry, sad,
feeling romantic, confused, etc. He decides how he will use his eyes in
relation to the audience—never looking, always looking, choosing the
moment (this stays the same throughout the cross), but he never looks at
the Observer. The Observer keeps her eyes on the player the whole time until
he exits. She then looks out at the audience.
As the Observer watches the player cross, she can ask herself one or all of
these questions: Who? What? Why? Throughout the scene, a questioning,
curious look plays across her face as she observes the player. She follows
The Talking Body 83
him with her eyes until he exits, then turns to the audience and shares her
response with them. For example, she starts laughing, cries, smiles, or curses,
calls him an idiot. She might keep her face expressionless, do a series of takes
to different people in the audience, or look around the playing area in a
mightily confused way. Her reaction can alter our perception of a player no
matter what they’re doing in the cross. It can create a story that is shared
between Observer and audience.
The next player waits five counts after the preceding player exits, then
repeats the sequence. Each player makes three crosses using the eyes in a
distinct way each time. The players can enter then exit to a different place or
exit the same way they entered.
Variation 4—Group task with observer Same as Variation 1, but with an

Observer. She watches a trio cross and shares her reaction with the audience
after they exit. The trio enters twice more, using their eyes in a different way
each time.
Note: Nothing needs to be added by anyone in the beginning—the players don’t

try to be clever or funny or make it a scene. Just enter, cross and exit, with the
Observer taking it all in and sharing her response with the audience. This is an
exercise in understanding how a repeating pattern can help to establish a
setting, a rhythm. When the pattern is then altered, we see potential: the players
start to express something about themselves by how they look or react,
relationships are suggested, a story starts to develop. Patterns draw the audience
in, create a structure they can tune into (like the melody in a song). The
simplicity of this exercise encourages them to use their imaginations, to
participate in the development of the scene and the trio’s relationship. It’s
important that the players understand and experience the value of simplicity
and how to build a scene slowly, leaving space for the audience to join in and
fill in details.
Variation 5—Player and observer Two players wait backstage; each one
has a prop. The Observer sits onstage in a chair. The first player enters with
their prop looking to the audience only, the Observer looks at him as he
enters. At some point, the player with the prop turns to the Observer, they
see each other. They both take it to the audience, then back to one another.
The player keeps his eyes on the Observer as he crosses to her with his prop.
He can move towards her any way he wants, threatening, seductive, joyful,
confused, afraid, weird, passive, etc. As the player crosses to her, the Observer
looks at the audience: she keeps her eyes on them as the player comes closer.
The Observer then chooses her moment to look at the player. When she
does, he freezes, looks out at the audience, then crosses to the exit without
looking at the Observer who keeps her eyes on him. Just before he steps
offstage, he looks back at her. She looks at the audience. The player exits.
Another player enters with his prop and repeats the sequence. When he
exits, the first player comes out again. They repeat this a few times, playing
with different ways of reacting to the looks and seeing what develops in
terms of relationships and story, but never forcing anything, just using the
Five Elements, their movements, and the looks.
Note: The adviser can call out the sequence to help the players remember it.
Advice
● “Develop the comic and dramatic possibilities of a scene simply by
how you use your eyes to share moments with your partners and the
audience.”
● “As an audience member, note your reactions to each use of the eyes:
how do they connect you to the trio? How do they make you feel about
them as a group and individually?”
● “As players onstage, how do you feel your relationship with the
audience changes with each use of the eyes? How does it affect the Five
Elements or the task?”
● “This starts as technical work, focusing on the looks and the Five
Elements without trying to create a scene. As you repeat it, relationships
and ideas will come to you. Trust the simplicity and pattern building of
the set up and its variations to suggest more imaginative play.”
Summary
This section introduced two important concepts: Using the body in a
sculptural way to express emotions and finding eccentric ways of posing and
moving, as well as recognizing the physical space as a living partner in the
clown’s play, finding ways to move through it more effectively and using it to
introduce the clown to the audience. This is furthered explored in
Sections 5–10 where it is combined with solo, duo, trio, and ensemble devising.
The Talking Body 85
Imagining the space as a living partner is now carried forward into doing
the same with props. The focus is narrowed down to something that can be
held in the hand, more easily manipulated by a clown because of its size and
proximity. The players continue to utilize the Five Elements in the next
section, adding the interaction with the prop to how they use the space. The
addition of a prop gives the players the opportunity to expand and elaborate
on the visual play they discovered in the previous section, searching for ways
to increase the emotional and visual impressions of a scene.
Figure 4.1 Windy Wynazz: Prop play. Photo credit: Eric Gillet/Shoot That Klown.
86
4
Prop Play
The Prop Whisperer

As part of the physical theater duo nakupelle, I helped create the show
La Boutique. We set the play in a store selling expensive clothes. This
allowed us to explore both the playful and oppressive aspects of the fashion
industry.
Figure 4.2 Michael Hayes

meets the singing chicken.
Photo credit: Eric Gillet/Shoot That
Klown.
87
We wanted to challenge ourselves as actors: the two of us would play eight

characters and bring to life a dog puppet. There would be lightning-fast
changes of masks and costumes, dance numbers, slapstick comedy, and
barrier illusions. Multiple entrances and exits—into and out of dressing
rooms, up and down elevators, through mirrors—meant we had to tightly
choreograph scenes to give us time to change from one character to another,
and help the audience make sense of a story which included ghosts,
shapeshifting, elements of the supernatural, and of course, clothes shopping.
Because we were wearing full face masks throughout the performance,
neither of us would speak. Nor would we add a voiceover to help the audience
follow the story. We were determined to tell a complex tale visually. The play
we discovered with the props had elements of juggling, object manipulation,
clowning, partner dance, and puppetry. We treated the props—clothes racks,
hangers, costumes, mannequin parts, feather dusters, clothes and coats—as
text, each object adding “words” to the story depending on how we handled
them.
Because they’re primarily visual performers, clowns have always had a
special relationship with props. Through their inventive play, every object
has the potential to be transformed into a collaborator, adversary, or friend,
to help tell stories, and reveal more about the clown. And in transforming
the prop, the clown is also transformed, physically and visually, as well as
mentally and emotionally.
Think of Charlie Chaplin’s cane, Avner the Eccentric’s napkin which
becomes a mask which becomes a meal, George Carl with his microphone,
coat and harmonica, Jacques Tati and the props and machinery of the
modern world, Bill Irwin sucked under the stage curtain, Buster Keaton with
everything he came into contact with! This is the clown playing with the
visible, physical world, reimagined as comic, fantastic, surreal, and absurd.
Players working in clown and physical comedy, need to know how to
transform inanimate objects and make them come alive. Proper technique
and a spirited imagination are crucial. The exercises below will help students
develop the tools and the mindset that allows them to make use of props to
develop comic moments, tell a story and create a world where everything is
alive and at play. Because props are so essential to clowns, these are some of
the most important exercises in this book. The players should be encouraged
to practice and work with props constantly, seeing them as living collaborators
in their play. The exercises will help the players understand the possibilities
in the transformation and manipulation of props, bringing them to life as a
partner, a puppet, or a mask.
Prop Play 89
PROP AROUND
I’ve worked with actors who get nervous at the mere mention of
props and for good reason: a malfunctioning prop, or one that is
handled badly, can completely undermine even the most riveting
performance. Carlo Mazzone-Clementi, founder of Dell’Arte
International in California, once said, “Master your props or they will
eat you!” The variations below get the players used to handling,
manipulating and sharing prop play with each other, before moving
on to more involved and imaginative interactions in the exercises
that follow.
Props: Balls (tennis balls, beanbags or balled up newspaper wrapped with

masking tape), objects of different weights and sizes (not so large they can’t
be held in one hand), two or more hula hoops, two durable hats (felt juggling
hats work well).
Variation 1—Ball pass The players stand in a circle. Each holds a ball in
their right hand. The adviser calls, “Go”! The players pass the balls from their
right hand to their left, then to the right hand of the person next to them.
They start slow, then speed up. The adviser says “Reverse.” The players pass
balls the opposite way. After a few rounds, the players switch places, so they
pass to new partners.
Note: If the group is large, break them into smaller groups of seven to ten.
Variation 2—Mix up Same as above but use a mix of objects: balls, hats,
sticks, stuffed toys, a small towel, etc. They need to be small enough or easy
to grip and be passed with one hand.
Advice
● “Focus on timing: pass objects hand-to-hand and then to your partners
in perfect sync.”
● “Focus on rhythm: use your movements—the hands passing, flexing in
the knees in time with the passes—to keep the objects in play.”
● “Use rhythmic sound: clap the hand and ball together when you pass
the ball between your own hands (if a ball is dropped, clap hands to
keep the timing until someone gets the ball back in play). Also try
vocalizing a beat.”
● “If an object is dropped, maintain the rhythm of movement and sound,
pick up the drop and put it back in play. Don’t just stop! Play with the
disruption caused by the drop, keep the rhythm going, and work
together to get the object back into the circle.”
● “What’s the best way to hold and pass the objects? Have everyone try
with their receiving hand open, keeping their eyes on the hand of the
person they’re passing to so they can focus on handing off the object
cleanly. This way the players shouldn’t have to look at their own
receiving hand.”
Variation 3—Pass the hoop Groups of seven to ten players join hands and
form a circle. Two players release their hands and the adviser places a hula
hoop over the arm of one player. They rejoin hands. The players pass the
hoop along arms and over bodies, stepping through it as they pass the hoop
around the circle four times, and back to its starting point, without letting go
of their hands.
Variation 4—Hoop and hat pass Same as above, with a hat placed on the
floor in front of one player where the hoop starts. After the hoop goes around
four times, the players set it down, and the player nearest to the hat puts it on
his head. The player to his left reaches over with her right hand and puts the
hat on her own head. The player to her left reaches over with his right hand
and puts the hat on his own head. This pattern continues until the hat goes
around the circle and back to where it started, four times.
Note: The next player always takes the hat with their right hand when it’s being
passed in a clockwise direction, never the left. Maintaining the integrity of this
movement is crucial when the variations get more complicated.
Variation 5—Hoop and hat competition Groups of seven to ten players

join hands, form a circle and are given a hoop to pass. The adviser calls “Go!”
The first team to get the hoop around the circle four times and back to its
starting point, wins.
● The first team that gets both the hoop then the hat around the circle
four times and back to its starting point, wins.
Prop Play 91
Variation 6—Alternate object The adviser assembles different props. For

example, a hat, a large ball, a broom, a thick rope tied to form a hoop to go
around the neck, a small cardboard box. The players form groups of five or
more. One player starts with all the objects: hat on head, broom lying on the
floor, rope hoop around their neck, box on the floor in front of them. Each
object must be passed in a different way. For example, the hat is passed in a
clockwise direction by having each player take it off the head of player to his
right with his right hand then put it on his head with the same hand. The ball
is passed to the right using both hands. The broom is taken with the right
hand (when all objects are traveling clockwise), passed to the left hand, then
passed to the next player’s right hand. The rope is lifted off the neck by the
player wearing it and placed over the neck of the player to his right. The box
is scooted left to the next player by pushing it with the outside of their left
foot. Run this a few times until the players get the hang of it.
● Make it a competition: on a cue from the adviser, teams pass the objects
around the circle four times. The first group to get all the props back to
where they started, arranged on the starting player in the same way as
when they began, wins.
Note: This kind of object play could be used in a scene to pass props down a
line of clowns standing shoulder to shoulder or exchanging objects in what
appear to be random ways but are actually choreographed group movements.
Advice
● “The method of passing should stay the same! This forces you to focus
on different parts of your body from the head to the feet, while staying
connected to your partners, the exchanging of the objects, and the
timing of each pass. Don’t cheat! It’s a group juggling act with odd-
shaped objects that must be passed in a certain way and in sync.”
PROP IMPROV
This game is an opportunity for the players to experiment with how
an object is used, transform it into something else, and generate
ideas that can then be developed into acts or used in larger scenes.
The variations allow everyone to get involved in creating material for
solo or ensemble scenes. They can generate an extensive list of
ideas for each prop that can then be used when devising new work
or enhancing existing material. It’s a good introduction to the more
focused prop work explored in Sections 6–10.
When working with props I imagine them in eight ways (some props may
require modification):
● Prop used for what it is: A broom is used to sweep the floor.
● Prop used wrong: The small end of a broom handle—or the side of
it—is used to push wads of paper into a dustpan.
● Prop malfunction: The head falls off the broom, the handle keeps
bending while sweeping, the bristles keep falling out until there’s only
one left.
● Prop acts unexpectedly: Sweeping in one direction sends wads of
paper flying off in the other. A glass filled with water is upended and a
lemon falls out. A silk handkerchief is stuffed in a pocket and when
pulled out, it’s a sock.
● Prop wrongly made: The bristles of the broom are made of crepe
paper. A wine glass is made of paper so when wine is poured in, it falls
apart. A chair is made of cardboard so thin it won’t hold any weight.
● Prop to show off a skill: Balancing, juggling, prop manipulation, an
aid to an acrobatic trick, body contortion, a show of strength, etc.
● Prop transformed: A broom becomes a golf club, a plunger becomes
a stethoscope, a chair becomes a moose’s antlers, a cardboard box
becomes a car, etc.
● Prop as friend or foe: The prop is treated as an animate, lively being, a
friend, foe, conspirator, or collaborator. It’s brought to life so it appears
to have eyes, ears, it can talk back, sing, throw a tantrum, be danced
with, etc. (this one requires training in puppetry techniques).
Notes on prop play: A player will spend time with a human partner in order
to know how they think, respond, what their physical abilities are, etc. Through
this interaction, the players learn to trust each other and find out what’s
possible when they play together. It’s the same with a prop: the players must get
to know it with all their senses, explore its texture, shape, the sounds it can
make, how it handles when lifting it, throwing it to a partner, all the skillful
Prop Play 93
things that can be done with it, what can go wrong when playing with it. The
more time a player spends with their props, the more it will suggest to them,
and the more imaginative the play with the object will be.
Working with props requires the same disciplined practice as learning a skill.
And skills training such as juggling, sleight-of-hand magic, puppetry or
acrobatics, can enhance prop play: juggling helps a player learn to focus on
many things at once; magic teaches misdirection, useful in prop play as well as
physical comedy; puppetry helps the player bring a prop to life; acrobatics lends
itself well to slapstick with props, or a skills display featuring object manipulation.
Prop jam session Tables are set upstage with enough room between them
so the players can move around them on all sides. Center stage is kept clear.
Props of all shapes, sizes, and functions are set on tables, but nothing fragile,
with sharp edges, complex machinery, or anything valuable; they must be
able to take some abuse. Three players stand next to the tables. The first one
chooses a prop, steps forward and does something with it according to any
of the eight ways mentioned above. The action is brief—a visual idea, a quick
display with the prop, etc.—then the player steps back to let others have a go.
They keep offering these solo ideas with props until the adviser calls time. A
new trio has a go.
● When a player presents their solo idea with the prop, the other two can
join in with their objects to create a short duo or trio scene.
Note: The players should bring in props they’re working with to see what sort
of ideas others come up: this is like a writers’ jam session but explored through
action, with everyone coming up with proposals, searching for what can be
done with the objects.
Advice
● “Let the props be catalysts for developing play, creating new possibilities,
telling stories.”
● “Certain props have more resonance or value to an audience. Treat a
violin roughly, and you might turn people off. Brandish a machete and the
audience might feel uncomfortable. That’s not to say you shouldn’t treat a
violin roughly or brandish a machete, just be aware of a prop’s significance
to your audience and how you might toy with their associations.”
● “Don’t be afraid to go with the obvious: it may act as a stepping-stone

towards more inventive play, and it keeps ideas flowing.”
● “Notice the difference between you transforming the object (forcing it
to conform to what you want it to do), and the object transforming you
(as you explore the object, it suggests a way it would like to be used).
This is an important difference: the second approach opens you up to
the moment, encourages you to relate not only with the object but with
the audience. You learn to take risks, and it increases your powers of
observation: you search the object for inspiration rather than the inside
of your head.”
● “It’s an exploration so allow yourselves time for invention. Don’t let the
pressure to come up with something clever or funny, stifle you. In the
pauses, breathe, stay relaxed, use the time to focus your mind and the
audience’s attention on what you’re exploring.”
● “Take notes while watching others, develop a list of what can be done
with a certain prop; it will come in handy in an improv and when
devising. If someone does something you like, try it yourself, expand
on the idea.”
PROP ME
Giving focus to props with any part of the body is one of the simplest
ways of showing its value and its relationship to a player. It’s an
introduction, “Say hello to this thing. Meet my friend. Take a look at
what I have in my hand.” It can also say, “I hate this thing. It scares
me! What is this?!”
Giving a prop this moment of introduction or drawing attention to
it at any moment in an act or scene, helps establish a relationship
between player and prop, and brings it to life. These moments give
the prop value, encouraging the audience to do the same; they see
the object as a character in and of itself and begin to wonder how
this mysterious being will respond as the scene plays out. Good prop
play adds invention and intrigue to any scene.
In this exercise, the players explore the way the prop is held in
relation to the body, the energy they express while holding it, and
what that says to the audience about their feelings for the prop.
Prop Play 95
Props: Miscellaneous props set on a table, music, and player, wall-length

mirrors.
Variation 1—Prop vogue The players choose a prop and gather in front of
the mirrors or have them partner up, present for each other, and give feedback
as they explore ways of presenting the prop to an audience. For example, they
keep their eyes on the prop as if hypnotized by it, or they gesture to it with
their free hand. They explore ways of holding the prop, so it’s framed by their
stomach or chest, an arm or both legs. They could frame it between two
different body parts such as their hand and their head, the crook of their
elbow and the side of their hip. Or they can use their clothes, pulling open
their coat and holding it against the material or cradling it in their shirt.
The players should present the prop with an energy : pride, seduction,
deviousness, silliness, arrogance, worship, etc. The way they hold it says
something about the prop and the player’s relationship to it such as, This
thing is so cool . . . Or it says something about the player, I look cool when I
hold it this way. Or it says something about the player’s relationship to the
prop, I hate this thing and the way I have to hold it so you can see it.
The players explore as many presents as possible—and look at what others
are doing for inspiration—then choose five they will show. The class watches
each player go through their five poses. If there’s time, give feedback: What
did the audience like, laugh at? What made them curious about the prop or
performer, and her relationship to the object?
Advice
● “Present the prop as if you’re offering it to the audience for their
perusal. Give it to them as a reward. Frame it with your arms or legs.
Hold it up against your hip or clenched in your fist. Lay on your back,
lift your legs and set it on the soles of your feet and gesture at it with
your hands. Balance it on your head as you move about. Find as many
variations as possible! Contort your body, be inventive, weird, exotic,
sexy, cheesy, ridiculous!”
Variation 2—Hold it The players choose a prop and decide on a way of

holding it: in their hand, tucked into the crook of the elbow or knee, under
the chin, clenched in their teeth, etc. Once they have a secure grip, they strike
a series of dynamic poses as they move about the room showing off the prop.
After a few poses, they switch the object to a new grip. This can be done by
simply taking it with the hand and shifting it, or in a more eccentric manner.
For example, if a stick is held in the crook of the knee, a player might do a
forward roll and grab it with his hand as he comes out of the roll, shifting it
to the crook of his elbow. He might bend over and take the stick from the
crook of his knee with his teeth or lift the knee up and snatch it away with
his hand with a dramatic flourish. The player strikes a series of poses—
expressing different energies—with this new grip, then shifts the prop again.
Advice
● “How many ways can you hold the prop with different parts of your
body?”
● “How many different poses can you strike while holding the prop in
eccentric ways? What sort of advantages do different grips allow? How
inventive can you be physically when holding the prop in an awkward
grip?”
● “How dynamic or energetic can you be in your movement while
holding the prop in eccentric ways?”
● “Can you make smooth transitions between different ways of holding
the prop? Can you incorporate grip changes into your movement as
you walk around the room?”
● “Turn your explorations into a movement or clown piece that generates
interest in the prop and in your relationship to it. What are the comic
and dramatic possibilities of how you hold a prop?”
Note: Many students I’ve worked with forget to value the prop by showing the
audience that they value it—if they don’t care about it why should the crowd? If
it’s treated in an offhand or pedestrian way, it has no life, can tell no story, will not
serve either the players or the scene. As the object work becomes more involved—
especially when using skill props such as juggling clubs—the players should still
present and use their props in a way that shows how they feel about them.
PROPS AND STATUS

A prop can add visual status instantly to a player: entering with a
briefcase is different than entering with a bucket. The players can go
Prop Play 97
with the status expectations a prop endows or undermine them: the

briefcase carries cleaning tools; the bucket is used to carry stacks of
money.
In these variations, the players explore how to use props as visual
aids to express status, and how to wield them to develop, raise or
lower their position in a group.
Props: A collection of various props, a table to put them on.
Variation 1—Prop it up Three or more players stand next to a table set with
props on it, placed stage left or right. The first player moves from the table to
the playing area with a prop, and begins an activity playing high or low
status. The second player sees what the first player is doing, grabs a prop,
chooses a status—higher or lower—and adds to the scene. The third player
does the same. They play a short scene and go again with a new set of props.
Vocal noises and sounds are allowed but no intelligible words.
An example: The first player enters with a stick and starts marching,
playing a soldier on duty. A second player grabs a helmet and enters as a
general, who starts ordering the soldier around. The third player enters with
a chair, stands on it, places his hands together in prayer and plays a military
chaplain. The trio have a brief interaction showing the hierarchy, then end
the scene. Any member of the trio grabs a new prop and starts a new scene.
The scenes are short and simple. The players don’t have to play for laughs.
The scenes can be serious, melodramatic, scary, absurd, etc. This is about
exploring the many ways status can be portrayed when using props.
● Add absurdity: the players start the scene straight. For example, the first
player enters with a stick and plays a soldier with a rifle. The second
player is a general with a helmet, scowling at the soldier. The third
player stands on chair to pray with the others as their Chaplain. After
establishing the status, they introduce absurdity with the props: the
soldier grabs a bucket from the table, steps inside it and uses his rifle as
an oar, propelling him around the room. The general grabs a rubber
duck from table and plays it as his secretary. The chaplain fashions
wings out of newspaper and becomes an angel standing on a chair.
Note: The players should keep in mind not only the potential of their chosen
prop to develop the visual story, but how it imbues—or robs—them of status. A
general’s helmet grants an automatic status so entering with a rubber duck

risks making him look ridiculous and losing status. Then he reveals it’s a hand
grenade . . . .
Variation 2—Give me that Same as above but the players can trade or take
away another’s prop at any point. Taking the prop also takes the status so
make sure the hierarchy is clear. The exchanges can be overt—the players
grab what they want—or they explore tactics for getting another player to
offer, lay down or drop their prop so it can be taken, along with the status.
When a prop is traded or taken, the players change status to match what
their partners were portraying.
For example, if the lowly soldier is marching with a stick rifle and obeying
the general and his rubber duck secretary, and the chaplain comes along and
takes the rifle, that player takes on the role of the soldier and treats the stick
as a rifle; he doesn’t change what the prop is or the role already established.
The general could force the new chaplain to take his helmet, become the
general and treat his rubber duck as a secretary, as the general takes the
wings and becomes an angel chaplain.
In this variation, we want to see how similar ideas, props and status play
change each player physically, and how they take on their partner’s ideas and
status and find variations with the props.
Variation 3—Give me that, change status Same as Variation 2, but when

player trades or takes a prop, she can choose any status, even change her role.
For example, chaplain can take the stick and turn it into a golf club, play
caddy to the now higher-status soldier who decides to lord it over all as the
fêted golf pro. The general can offer his duck as the ball and play the
greenskeeper. They play the scene with the change (or changes) of status and
props, then make an exit.
Advice
● “Use your body, your gestures, your facial expressions—as well as the
props you choose and how you handle them—to communicate status.”
● “You are responsible for presenting a clear status choice. Your partners
are responsible for reacting to it to help reveal and elaborate on your
status.”
● “Observe what your partners’ choices are in the moment and react to
them to support their choices. Try not to force your ideas on each
Prop Play 99
other but let the scene grow out of how you listen and exchange ideas
and how you use the props to create ensemble play.”
Summary
This section started the exploration with props that will be developed in the
solo, duo, trio, and devising sections of this book, which all involve the use of
objects. Learning to use props and be comfortable onstage interacting with
them, has enormous value to clowns, comedians, actors, and improvisers.
They can walk into any room and create material because they see the huge
potential for play in the inanimate world. The work in this section aimed to
help the players realize that objects will resist and antagonize them, as well
as make suggestions and join in with the games a player introduces. This
sense that props have a life of their own and can offer endless possibilities,
can inspire, and expand a player’s curiosity (and that of the audience). They’ll
actively search the space around them for playmates hiding in objects, and
search for ways to interact with them. The next section explores this curiosity
in relation to the performing space: the players look for ways to use it actively.
This builds on the work done in Section 3: The Talking Body.
Figure 5.1 Mary Hicks: Curiosity. Photo credit: Eric Gillet/Shoot That Klown.
100
5
Curiosity
Odd Fellows
The building that houses Dell’Arte International in California—a place to
study Physical Theater, Mask Performance, Melodrama, Clown and
Commedia dell’arte—is unique. The school is in—appropriately enough—
an old Oddfellows hall, the structure is made mostly of redwood and is plain
looking on the outside. Despite the renovations over the years, it retains
Figure 5.2 Wayward showgirl clown Sophia Knox-Miller. Photo credit: Eric
Gillet/Shoot That Klown.
101
much of its rustic, spooky charm; it’s a building that feels both haunted and
full of lively spirits.
As a member of the core faculty, I led a five-week study of clowning for a
class of twenty-four students, which culminated in three public performances.
The theater itself had been newly renovated including a huge trap door in
the middle of the stage. I discovered—much to my delight—that the pit
beneath the doors would accommodate all twenty-four students.
The show opened with all the clowns save one, standing in the pit, the
upper half of their bodies sticking out. We covered them with a white
parachute so the audience could see movement underneath the cloth but not
faces or bodies. The cruel boss clown—Big Daddy—entered from backstage
and pulled away the parachute revealing the students wearing masks they’d
made that represented their phobias, fixations and obsessions. After
antagonizing his prisoners, Big Daddy left and the clowns slowly, cautiously,
climbed out of the pit and closed its doors. With Eric Satie’s Gymnopedie
No. 3 playing over the speakers, they began to remove their masks, revealing
the clowns underneath. They danced and played, delighted to be out of the
masks and the pit. But then a slamming door was heard, and the clowns
scrambled to escape: Big Daddy was back!
High up on the backstage wall was a loft space for storing lighting
equipment. Working together, the clowns scaled the wall, hoisting each other
up, building human pyramids to reach the high space. All twenty-three
clowns stuffed themselves into the loft and pulled the doors closed. Big
Daddy returned to an empty room. As he thrashed the walls and tried to
climb them in his rage, he heard a noise overhead. All went silent.
Above the theater is a large classroom: its floor is the roof of the theater
below. This is a small black box theater that holds about a hundred-plus
people on raked seating, so the top rows are pretty close to the roof. The
clowns were hiding in the classroom above the theater and Big Daddy was
on the rampage. So, the clowns ran. First two, then five, then all twenty-three
clowns began to run around upstairs, stomping and stamping on the wooden
floor of the classroom. The audience was jolted out of their seats! They
looked up: the space above their heads was alive! The crowd laughed with
recognition and delight as they tried to follow the clowns escape via the
sounds of their feet across the floor/roof. Meanwhile, Big Daddy had found
their escape route and had gone up after them.
The clowns stampeded as one across the floor one more time, then down
the wooden staircase in the hall at the back of the theater. The audience
turned in their seats as clowns burst through the back entrance of the theater
Curiosity 103
at the top of the raked seating, scrambled through the lighting booth,
stormed down the vom, climbed over the audience’s laps, and scooted
between the seats, as they made their way back to the stage to hide under the
parachute. Big Daddy got lost in the building as he searched for the clowns,
the sounds of his seeking and his rage slowly fading. Little by little, echoing
the beginning, the clowns crept out from under the huge white cloth and
began to play with the crowd.
For the next hour, the clowns snuck in their routines and vignettes,
entertaining the audience, while avoiding Big Daddy. Until they couldn’t. He
caught up with them, corralled them together, threatened to beat them and
return them to the pit. Suddenly the big doors to the loading dock at the side
of the stage opened and a car drove in. A real car. The clowns scrambled to
escape, stuffing themselves in like the classic clown car gag, but into a vehicle
that had not been modified to fit all twenty-three of them. While this mad
scramble was going on—clown legs sticking out of windows and the trunk
of the car—the double doors of the loading dock stayed open and people
walking by on the street outside peered in, wondering what the hell was
going on. The audience laughed and waved at them, some of the clowns
begged them to help them escape, Big Daddy threatened them with his club.
The whole building—even the street outside—became the clowns’ theater
because of the way we made use of the entire space and everything in it.
I love that building, the otherworldly feeling of its Oddfellow’s rooms and
offices. After attending the school as a student, and later teaching there for
eight years, I wanted to share what I knew about it with the audience. I
wanted them to feel how alive it was for me. I did that through this show,
and who better to lead the audience through the building than clowns!
They had the audience looking at the stage in front of them, the roof above,
had them turning around in their seats to catch the clowns storming in
through the back of the theater, got them peering over railings to see the
clowns running down the corridors, watched them climb under the stage,
drive a car into the theater. The clowns transformed the building, brought it
to vivid life by recognizing and celebrating its potential as a partner in their
play and making the audience feel, in the words of the Bard, “all the world’s
a stage.”
This section begins with thoroughly taking in the space, seeking ideas and
opportunities within it. It moves on to truly seeing things in the space and
learning to express a relationship to what is seen. The players then connect
to the public’s space, invited into it by the audience themselves. The final
exercises encourage the players to bring to life the space backstage.
All the work in this section seeks to blur the lines between worlds, getting
the players outside the space in their own heads, revealing secret places in
the shared space around them, and making visible those things in the
performance space hiding in plain sight. The exercises emphasize how
clowns relate to the physical world and how they make it a living partner in
their play. They utilize elements of neutral mask work, physical theater,
cabaret, and street performance.
SPACE ODYSSEY
Any time I enter a space—whether for class, rehearsals or
performing—I do a thorough check, studying the space in detail. This
isn’t just for safety reasons: in clown and physical comedy, the space
and all the elements in it—from furniture and props to the very walls,
ceiling and floor—should be considered partners. Every space can
give a player material to work with and help connect them to their
audience—especially if it’s a space that’s familiar to the crowd such
as a school assembly room, a popular meeting place or a street in
town.
These variations teach the players to get to know the space, treat
it in a respectful, observant way. This can help a player introduce the
space to the audience in a way that is intriguing, exciting, and
startling. I encourage the players to study their workspace on a daily
basis: no space is static, there are always slight changes being made
to it. It’s alive . . .
The players study the floor, its surface, its texture, how light affects it. They
take note of dents, marks, bumps, discoloration, etc. What the floor is made of,
its texture: is it smooth or rough, is there a pattern in its surface, where is it
uneven, etc. They open their field of vision to study more of the floor as they
walk. The adviser calls an end to the exercise; the group forms a circle. Each
player mentions three things they observed. “There’s a dead fly caught in a
web in that corner. I noticed a splash of red paint on the floor by the door.
There’s a scuff mark on the third step.” When everyone has named three things
(the players can repeat what others noticed) the exercise continues.
The players study the walls exploring them as they did the floor, first
looking at details, then increasing their field of vision. The adviser calls an
Curiosity 105
end to the exercise, the players form a circle, each mentions three things they
observed.
The players study the ceiling lying on their backs at first. They study all
they can see from one vantage point, then move to another, lie down, and
study the section above. After a few changes, the adviser asks them to study
the ceiling as they roam, exploring it as they did the floor and walls. The
adviser calls an end to the exercise, the players form a circle, each mentions
three things they observed.
The players close their eyes and visualize the whole room in their head,
recalling all the details they’ve observed. Then they open their eyes and take
in the whole room as they continue to recall the details mentioned by all
players. The adviser calls an end to the exercise and asks the group the
following questions:
● “When you look at the room now, do you feel more, or less comfortable?”
● “Do you feel a connection to the room or is it still just a space to
work in?”
● “Did the study give you ideas about how you might use the space
during class work or in performance? Name some ways you could use
your discoveries.”
LOOK, SEE, REACT

In physical comedy terms, a “take” is more than just a look at
something: it’s a game you play with how you see an object, a
person, an action or a moment in a scene, and how you respond. The
response not only says something about a player, but also about
what they see and their relationship to it. The take is an invitation,
tempting the audience to enter the player’s world through something
they both see and share; the object becomes a doorway and the
player’s reaction draws them further into their world.
A physical take is a good way to enhance any moment of discovery,
so it’s an important technique to learn and embody in clown and
physical theater. It’s a simple yet effective way of drawing an
audience into a story, giving them time to join in, to make discoveries
and respond to changes along with the clown, and get more deeply
involved with what’s happening onstage.
Thinking of the take as a game means using the playful mind of

the clown: a player physically looks at something and, in that
moment, makes a deliberate choice to draw the audience’s attention
to it. They now have something in common: both player and audience
see the object and establish a connection to it. Once the player has
inspired their curiosity and has the audience wondering how she will
respond, she can toy with them. She can do multiple takes, play with
the amount of time between each take, vary her reactions with each
take. This anticipation, this building up of curiosity as the player
invites and teases with various takes, becomes part of the game
between audience and player.
Props: Two stage flats or curtains to create wings with a six-meter gap
between them, miscellaneous props.
Variation 1—Head takes Three players wait backstage. The adviser sets
two stage flats or curtains upstage to create a left and right-side exit, then sets
an object on the floor downstage. The first player enters, does a take to the
object—sees it with their eyes, turns their head towards it—then exits. For
this first round it’s just a simple head take, the reaction is subtle. The players
can cross to the opposite wing to exit or go back the way they came. The
second player enters as soon as the first exits, does a take to the object, then
exits. When he exits, the third player enters and does the same sequence.
They continue this sequence, and with each take, develop their reaction to
seeing the object, expressing different emotions, playing with how they move
their head, react with their body, keeping the play subtle. This first variation
is simply an introduction to this technique.
Variation 2—Directed takes Same as above, but the adviser talks the
players through the variations below. She calls one out, each player tries it on
three or more passes, then the adviser calls out the next one. The same trio
can try all of them, or switch trios after a few variations. At the end of each
take, the players exit any way they like. Keep the scenes short: it’s not an act.
It’s a chance to practice physically seeing something for an audience and
reacting to it.
Note: For all variations below, the players can vocalize, preferably sounds or
gibberish, not words.
Curiosity 107
1 The eyes see it first pulling the head around, which then turns the rest
of the body till you face the object, feet fully turned to it as well. Do it
as a series of isolated moves: eyes, head, chest, full torso, arms, hips,
legs, and feet. Don’t rush it.
2 Do a double take: see it once, turn away, look again. Vary the timing
between the takes and the reaction to seeing the object each time.
3 Do three or more takes in succession. Play with the timing between
each one and the reaction.
4 You want to take but you only pause, never fully turning to look at the
object. Toy with the audience: will you turn, will you see it and
acknowledge that you see it? Or will you resist the desire to fully turn
to the object and look at it?
5 The eyes see it, the head turns to the object but the rest of the body
refuses to turn and there is a short tussle between the eye’s and head’s
desire to investigate, and the body’s desire to leave! Your body pulls
you offstage, but the eyes stay focused on the object until you’re
completely off.
6 The take and the reaction are broad: the eyes see it and there is an
exaggerated response—the whole body gets involved! Seeing the
object leads to a jump, an acrobatic move, a dance, a flurry of
gestures!
7 When you see the object, shrink, visibly contract inwards. You can
walk off in this shrunken state, or contract so much that you must
crawl off or curl up into a ball and roll off.
8 When you see the object, swell up, visibly expand, inflate like a balloon,
raising your arms, spreading your legs wide, inhaling deeply. You walk,
float, or stride off the stage.
9 After you take to the object, vocalize your reaction upon seeing it. The
sound can be short or continued until you exit. Let the sound express
how you feel about seeing the object.
10 Do a series of takes to the object that express a different emotion with
each take. For example, you see it and get angry, look away, see it again
and get confused, see it again and smile broadly. You can change the
emotion when you turn back to the object or wait till you look away
to change it.
11 Three players backstage decide on three variations of the takes. For
example, each player does a cross with a simple, single take on their
solo pass and then exits. On the second pass, they all do a double take.
On the third pass, they contract when they see it. The trio establishes
a pattern with their first three solo crosses then breaks it for the
second and third set of solo crosses.
12 Some part of the body other than the eyes “sees” the object first. For
example, the index finger sees it, points, then pulls the rest of the body
around to face object. Or, after the finger points, the eyes look at the
finger, then the object and then the body turns. For each pass, let a
different part of the body see the object—the chest, the elbow, the
groin, the palms, the spine, etc. The body part is moved or pushed out
towards the object first, then the rest of the body turns.
13 When the eyes see the object, isolate a single part of the body and
respond with that (keeping the rest of the body still). For example, the
eyes see it and the hands flutter, or the legs tremble. The choice of the
body part—and the way you move it—can give us clues as to how you
feel about seeing the object.
14 Do the take as soon as you enter, or wait till you walk past the object,
then look. Enter quickly then slow down for the take or vice-versa.
Toy with the audience’s expectations by how you play with timing and
rhythm in the look and the reaction.
Note: For variations 1–2, as soon as one player exits, the next one comes
on. Part of the pleasure in watching this exercise is the transition between
the players, how they leave the scene after seeing the object and how the next
player enters on top of that energy. A series of solo scenes starts to look like a
trio’s act.
Variation 3—Duo and trio takes Two or three players enter together. As
they cross the stage they take to the object (separately or all at once), react,
then exit. The group makes three or more crosses. Play with any of the
variations above. Duos or trios can improvise in the moment, choose three
before they start, or the adviser calls out the takes before they enter.
Variation 4—Scene takes The players form trios, scatter about the space,
and explore the variations above on their own. They choose a prop, decide
on a short sequence of passes, takes, reactions and exits, rehearse it, then
present it to the class. This is a chance to explore the use of takes only: the
players don’t handle the prop or try to make it into a longer scene. The
objective is to create a short, engaging scene with just a series of crosses,
takes and reactions, and to see how much can be expressed about the players,
their relationship to the object, the audience and each other.
Curiosity 109
Advice
● “Enjoy the physical play—entrance, reaction, exit—without laboring it.
Keep it simple and see what develops.”
● “Is your reaction honest and believable, or is it just a movement of the
head? Do you truly see the object and react in a convincing way?”
● “How does seeing the object make you feel and how can you show that
in your body and face?”
IN AND OUT
This exercise focuses on what I think is one of the most important
aspects not just of clown and physical comedy, but all theater:
entering the performing space. As I stated in the Introduction,
curiosity is one of the defining traits of a clown. It’s the same with a
clown’s introduction to the audience: they want to make the crowd
curious about who they are, why they’re coming onstage, and what
they’re going to do. One of the best ways to induce that curiosity is
by how the clown enters the space. The adviser should emphasize
the importance of a strong entrance (and exit) to the point where
they become second nature. In these variations, the players make a
series of entrances and exits giving them plenty of chances to
explore the possibilities. The adviser should ensure that the preceding
player is completely offstage—no part of them is visible, not even a
coat tail—before a new player enters. Be a stickler for this! It keeps
the players focused on one another rather than just obsessing about
their own moment onstage.
Props: Curtains for entering from and exiting behind, or two stage flats that
are moveable.
Variation 1—Body parts Three players wait backstage. The first player
makes an entrance with just a part of her body. For example, she sticks her
hand out from behind the flat, slaps the front of it, then pulls it back in
quickly. As soon as her body part exits, the second player’s body part enters.
They might stick their leg out, stomp the floor repeatedly as if trying to
squash a bug, then slide their foot offstage. The third player might stick his
butt out from behind the flat, turn it out as if it’s looking at the audience, then
bump the flat as his butt hurries offstage. This continues—body parts
entering and exiting—only one player at a time—until the adviser tells them
to stop. Three more players give it a go.
Note: This should be treated as an idea “jam session” with all the players
offering possibilities that are open to anyone to borrow and expand on. Even if
a player were to do the same bit—such as the sequence above with the hand—
it would read differently. The trio could all choose to do a hand entrance three
times in a row—or experiment with nothing but hand entrances—giving the
audience a chance to observe the variety of options available with a single body
part presented by different bodies (and different imaginations). This is a great
way to build curiosity in the audience, make them wonder who is going to
enter and what the rest of them looks like.
Variation 2—Flatcurtain Three players wait backstage. The first player

makes an entrance, this time stepping out with their entire body, but they must
use the flat or curtain to frame their body in some way. For example, they step
out and embrace the flat, pressing their body against it. They might stand with
their back against its edge and try to straighten their spine, so it matches the
line of the flat. They could drape the curtain across their body, wear it around
their head like a shawl, or over their shoulders like a cape. They might hop
onstage, then in front of the flat, so it acts as a background to frame their body,
or just lean in towards the flat so it frames just their head. They could slink
along the curtain or flat, pressed up against it as they sneak to the exit, etc.
They have a moment to show this image—their body in relation to the flat
or curtain—then exit. The next player enters and uses the flat or curtain to
frame their body. As soon as they exit, the third player goes. The trio continue
this play—making multiple ins and outs, using the flat or curtain in imaginative
ways, keeping each moment brief—until the adviser tells them to stop.
Note: Anything big enough to fully hide behind—tables, blankets or sheets

hung on a line, large pieces of furniture, stacked suitcases, gym mats, etc.—can
be used for this exercise. Scatter them around the performance space and have
the players use them for entrances and exits.
The adviser should draw the players’ attention to the actual object used for
ins and outs: what can be done with the curtain, the flat, the door and its
frame, a big lounge chair, a table stood on end, etc. Can a player come in
Curiosity 111
under it, over it, get tangled in it, push it away to reveal themselves, fall over
holding onto it, carry it to another part of the stage and then step out, rotate
it until they’re revealed, etc.
Advice
● “Make us curious about who’s getting ready to come onstage and what
you’re going to do!”
● “As you watch others, take note of how the flat or curtain frames their
body. Does it create a stronger image, draw more attention to them?
Does it make you more curious about the clown than if they just
walked immediately center stage?”
● “Interacting with the flat, curtain or scenic element in these ways
draws our attention to it, animates it and turns it into a partner in your
act, offering more possibilities for play with the space.”
● “Use your body in inventive ways. Don’t just walk in, leap onstage!
Come in walking backwards or fall out from behind the flat. Hurl the
curtain aside as if you’re the king of the world! Crawl onstage, exit
sliding on your back. Drag yourself on, then run off full of energy!
Enter in a rage! Exit mightily confused . . . Enter pointing at everything
onstage, exit as if an invisible monster is chasing you. Imagine someone
has thrown you onstage! Slouch off nearly weeping. Enter as if you just
discovered the secret of life! Exit as if you forgot what it was. Exhaust
the possibilities.”
LISTEN
Clowns are always seeking a connection to the audience. It has been
said that for clowns and comedians, the audience is their ultimate
collaborator: they are writer, director, and main partner in the creation of
material. For the clown, the fourth wall either doesn’t exist, or is easily
pushed aside, so they can play the game of acting from within their
own world onstage, while always ready to break out of it into the
audience’s world. These exercises help the players to be more aware of
the crowd, to listen more acutely, to interact with them in a more direct
way while at the same time, focusing on what they’re doing onstage.
Props: Two stage flats or curtains for entrances and exit, miscellaneous
props, cards with activities written on them (see Variation 2).
Variation 1—Big ears The players find a prop and decide on a simple task:
cleaning with a feather duster, flipping a juggling club, putting on a coat and
hat, folding a bedsheet, etc. They form groups of four and find space in the
room to work separate from the other groups. One player performs their
actions or tasks while the others observe. As they watch, observers make
sounds—loud, soft and everything in between. These can be vocal—whispers,
shouts, whistling, gibberish—or percussive—hitting the floor, clapping the
hands, striking a box, etc. The player doing the task reacts. Observers should
be cautioned not to overdo it: play with silence as well so the player has to
wait, involving themselves in the task, before being interrupted by the sound.
While the player carries out their task, they keep their ears open and
respond to whatever they hear.
The noises might make them fearful, confused, happy, irritable, curious,
surprised, etc. This is expressed in the way they take to the sound, the
expression on their face, how it changes their body, and how it changes their
handling of, and their actions with, the props; the player may only pause,
react and look towards the sound, then continue, or be completely thrown
off, forget what they were doing, start doing something completely different
with their prop. The response is brief—the player doesn’t get too involved
with the one who made the sound or make a scene out of the interruption;
they must get back to what they’re doing. The potential to be interrupted—
and the rule that the player must react—keeps them attentive to the crowd
and the “in-between space” between audience and player.
Variation 2—Big ears onstage Three players wait backstage, each with a
prop. All others are observers. The trio enter and perform tasks with their props,
all the while listening and responding to whatever they hear outside the world
onstage. The players’ reactions to the sounds may cause the audience to add
more, or repeat ones that the players react to, encouraging them to repeat their
reactions. The adviser sets a time limit of one minute then cues the trio to exit.
The difference in this variation is seeing three players reacting together
and how it alters each of them separately and as a trio. They can also take to
each other after responding to the sound or not look out but turn to their
partners onstage as if one of them made a sound. Everything is brought into
the play: the tasks, the play with the props, the play with the audience, and
the relationship amongst the players onstage.
Curiosity 113
Note: The players shouldn’t always react directly to the audience but instead,
make everyone aware of the liminal space between the reality onstage and the
audience’s space. In other words, the players may look directly at the person
making the noise, but other times their reactions have a curious or suspicious
quality; they react but don’t know the source of the sound (like hearing a noise
outside of a room but not opening the door to investigate).
Variation 3—Go! No! Three players choose a task. For example, they’re all
cleaning the stage. They gather the props they need—brooms, dustpans, rags,
etc.—and go backstage. The adviser has a series of activities written on cards. For
example, playing tennis, baseball, making a pizza, musicians playing rock-n-roll
or classical music, cowboys rounding up cattle, chefs cooking, etc. He shows one
of these to the audience. The trio enters and begins the task of cleaning the stage.
Once they establish this, they start to guess what the activity is by how they use
the props. For example, the activity is playing tennis: if a player starts to use the
dustpan like she’s chopping wood, the audience says, “No.” They continue to say
“No” for as long as the trio fail to act out the activity once they start to guess at it.
If a player starts to swing the dustpan in a way that suggests hitting a tennis ball,
the audience say “Go.” If other players join in with similar play, the audience says
“Go!” louder and more often, encouraging the trio to keep guessing until they
are into a full-on tennis match with the props, playing the game vigorously as the
crowd shouts, “Go! Go! Go!” They can finish the scene on their own when they
feel it has peaked and make an exit, or the adviser cues them to finish and leave.
This can be done with any set up such as a trio entering and sitting in
three chairs each with a newspaper, entering with coats, hats, and scarves,
folding bedsheets, setting up objects for a circus act, etc. Any props, scenic
elements or costume bits will do as long as they can be used in an imaginative
way to act out the activities written on the cards.
BACKSTAGE BUTTING IN
In clown and physical comedy, there’s no such thing as a neutral
backstage. Any space in view or within hearing distance of the audience
is a potential performing space. This exercise helps the players explore
this, find comic play in how they use any space, and expand the potential
for any venue whether it’s a theater, a living room, or the street.
Variation 1—Backstage forget Each player needs a prop and a hat or

other costume piece that is easy to put on. These are set backstage. The player
enters, ready to perform her act. Soon afterwards she realizes she’s forgotten
her prop. She reacts to this; for example, she gets angry at herself, scared of
the crowd’s reaction, paranoid that someone is messing with her, laughs and
has a “Duh! I’m an idiot!” moment, etc. She exits, and returns with the prop.
At some point she realizes she’s forgotten her hat (or other costume piece).
Whatever emotion she revealed the first time increases. For example, she
gets angrier. She exits to retrieve the hat. While backstage, she leaves the
prop, returns with the hat, realizes she’s forgotten the prop, reacts, goes back
to get the prop, but exits the wrong side. She leaves her hat on this side, enters
and crosses to the side where her prop is, enters again, comes downstage to
perform her trick, realizes she’s forgotten her hat, exits to the wrong side to
get it, crosses to the right side, gets hat, enters, makes sure she has hat and
prop, then comes downstage.
There are a number of options now: she recovers from her reaction to the
forgetting and does the trick; the forgetting can carry on a few more times,
building in energy to see where it leads and how the props get mixed up; she
realizes she’s forgotten another costume piece or other props or loses her
shoe backstage; she sees she’s got the wrong prop and/or costume for the act
she wanted to do and goes looking for it; she’s ready to do her trick but
realizes she’s forgotten what it is; her partner comes out and takes the prop
and hat and tells her to go get her prop and hat, “These are mine!”
This is an exploration in playing with props, entrances and exits,
developing a series of predictable and unpredictable actions, and the
minimum-to-MAXIMUM of a series of actions and emotional reactions,
all of which can be used to develop an act.
Note: This can be done as an improv for the class, or the players are allowed to
rehearse, decide on the props that will serve their ideas, and develop a short
scene before showing it. The players can vocalize at any time, onstage or off.
● As a lead-in to a scene: After exploring this with the class, the players
can be assigned to use this exercise as an introduction: The Forget is
the lead-in to whatever type of act, task or scene they will play (devised
by the players or using a scripted scene). This encourages the players
Curiosity 115
to explore multiple entrances and exits and make the backstage—and

the actions that occur out of sight of the audience—a part of their
scene.
Variation 2—Backstage news Three players wait backstage. Each player

chooses a simple, short trick or task. It can be a juggling or acrobatic trick,
carrying a box across the stage, coming out and sweeping, pouring water
into a paper cup, etc. Each player decides what is their “backstage news”
(this is not revealed to the audience). For example, just before he enters
to perform a cartwheel, the player is told his house has burnt down and
everything he owns is gone. He enters in complete despair, but he must
come onstage and do his cartwheel, then make an exit. Whatever energy he
brings onstage, he must maintain and express it throughout the act (he can
keep repeating silently to himself, “My house has burnt down, I’ve lost
everything”). The backstage energy affects his entrance, how he comes into
the space, how he does his cartwheel, how he moves out of the space, and
how he exits. The players are given a few rounds with the same trick or task
in order to explore a variety of emotions: how does each energy affect the
same action: a sad cartwheel or an angry one, sweeping while paranoid or
full of pride, carrying a box across the stage while mightily confused or
madly joyful.
Variation 3—Backstage onstage Three players wait backstage. They

decide on a scenario that will create noise. For example, they are having a
raucous party; having an argument about who didn’t flush the toilet; weeping
over one person’s hamster being eaten by another person’s dog; terrified that
there’s a killer hiding somewhere looking to take them out. They develop the
soundscape of this scenario, making noise backstage, banging things around,
laughing, shouting, weeping, screaming, etc. The language should be mostly
gibberish or unintelligible with a few recognizable words thrown in now and
then. The noise level builds and when it’s near its peak, one player—the
Entertainer—enters the stage to do an act, bringing with him the energy
from backstage—he enters laughing, raging, weeping, etc. Upon entering, he
tries to calm himself in order to present and connect with the crowd. He
moves downstage to do his act—it’s short and simple such as flipping a stick,
bouncing a ball high and catching it, or standing on a chair. While this is
happening, the scene backstage continues—it’s noisy, props or costume bits
are thrown onstage, a player might step out emoting, then exit again. While
this is going on, the Entertainer does his act, playing it for the crowd, torn
between responding to what’s going on backstage and delighting his

audience. The Entertainer finishes the act and exits.
The players backstage can choose to randomly interrupt the Entertainer
the whole time he’s onstage, but never come out and stay, or they can build
up the level of noise and interruption until they completely undermine what
the Entertainer is doing and carry the scene from backstage, onstage, with
the Entertainer completely giving up. The players find an ending together,
and exit.
This is repeated with a different player from the trio acting as the
Entertainer (use the same backstage scenario but a different Entertainer’s
act), or let another group have a go.
Note: This can be done as an improv for the class, or the players are allowed to
rehearse and develop the scene before showing it.
Advice
● “Carry the energy you build offstage, onstage. Don’t drop it when you
enter!”
● “When playing the Entertainer, keep the tension between the various
problems and the two worlds. Show us how you feel about what’s going
on by how you react to it and how you try to keep the crowd’s attention
on your act.”
Summary
At a basic level there are three elements in any theater piece: player,
audience, and space. An audience—and novice players—may not be
consciously aware of the effect the space has on them, but it has a
profound impact. This section encouraged the players to become familiar
with the performing space wherever and whatever it may be. To shape it
to serve their needs, as well as find out what it wants, what it suggests,
how the space itself wishes to play. The exercises urged the players to
transform the space by how they entered it, moved through it, played in
it, to find ways to draw the audience into their world and the space they
all inhabit; there are no rigid borders, no hard dividing lines between
any space or reality. The players were also invited into the audience’s space
by listening to them and responding directly, as well as bringing areas alive
Curiosity 117
that are not visible to the crowd to broaden the potential for playing with the
space.
The objective of all the previous sections was to prepare the players for
solo, duo, trio, and ensemble devising. In the following sections, the players
begin to create short acts and scenes, telling a story using their bodies, the
space, and their interaction with props, all animated by imaginative,
inventive, and energetic play.
Figure 6.1 Ariel Speedwagon: Clown solos. Photo credit: Eric Gillet/Shoot That
Klown.
118
6
Clown Solos
Catching a Salad on Your Face

Solo clowning is always a humbling experience. No matter how brilliant you
think your ideas are, how you want to claim that your routine is your own
unique creation, the reality of a live performance will change your notions
that you are the sole creator of your act. I’ve devised a number of solo shows
Figure 6.2 Joe Dieffenbacher at Fiestas del Pilar, Zaragoza, Spain

performing Bon Appetit! Photo credit: Matilda Dieffenbacher.
119
over the years, directed other artist’s routines, and developed solo turns
within many ensemble productions. Below are a few episodes from my own
work that convinced me that a solo show is always a team effort.
When someone from the audience throws a head of lettuce and I catch it
in the face, I have a visceral experience of “audience participation.”
When part of my solo show involves slicking down my hair after licking
my hand, then doing the same to members of the public, and when at a ten-
day festival in Segovia, Spain—where a good part of the town has seen my
show by day nine—and I walk into a bank and the bank employee behind
the counter beckons me closer, licks his hand and slicks down my hair, I have
to laugh at the notion that I’m alone onstage.
When an actor at Shakespeare’s Globe, London, who I’ve been helping to
find moments in Taming of the Shrew to play with the crowd, suddenly turns
to an audience member standing in the pit area at the foot of the stage and
asks for her water bottle to wake up her master Lucentio who has fainted,
and a hush comes over the crowd as she not only breaks free from the world
onstage, but literally steps out of the show as she reaches for the bottle, pours
it on her master and tosses it back, and you hear the crowd go from hushed
disbelief at being addressed so directly, to bursting into laughter and applause
at the nerve and playfulness of the actor, I witness the power of the solo artist
when they choose to make their audience an active partner in their play.
When I offer “shnicky-shnacks” (small cookies) to my audience throughout
my street show, presenting them as a bribe and a thank you for their help, and
I do this so often that a child—who looks like she’s just learned to walk—
wobbles through the crowd and onto my performing space, and I see this kid
out of the corner of my eye while doing an acrobatic headspring off a table—a
little girl who looks like a cherub with her light blonde hair and white dress—
and she reaches out her hand as she continues towards me, oblivious to the
crowd, their laughter and my crazy clown’s antics, and I know I have to
interrupt the show to give her a shnicky-shnack . . . I realize this show doesn’t
belong to me and will forever be a collaboration between me and the crowd.
Devising work as a solo artist can feel like one of the loneliest things you’ll
ever do. No one to trade ideas with, play off of, share the joys and frustrations
of the creative process. Your first showing of new material feels like holding
up pieces of thin paper with your ideas written on them as a strong wind
blows them about and the audience struggles to comprehend what you’ve
come to share with them. Or to paraphrase English author Samuel Butler,
“Clowning is like playing the violin in public and learning the instrument
while people stare at you” . . .
Clown Solos 121
But when a solo player truly connects with the crowd, they experience
something essential about clowns: they’re eager to share their thoughts,
emotions and imagination intimately with their audience. When they have
those moments of complicity, a player gains in self-confidence and courage,
and realizes, they’re never alone onstage; they learn to constantly reach out
and connect with others by engaging directly with the crowd.
Because performing solo is tough, exercises that challenge and provoke
the players are important. The adviser—acting as an enlightened heckler—
engages with them in such a way as to push them beyond their comfort zone
and get them to explore other possibilities. These challenges will build a solo
player’s confidence, preparing them for performing for an audience that is at
best indifferent, at worst, resistant. The adviser’s side-coaching also pushes
the players to stay connected with their audience, making them aware that
their performance is meant to be a conversation, that they’re always in dialog
with the crowd.
The exercises also motivate the players to mess about with adversity
rather than be shut down by it. Improv games often advocate the use of “Yes,
and . . .” to evoke a positive atmosphere and stimulate creativity. This is
important, but I found that sometimes saying “No . . . so now what?” can
encourage the players to go deeper, search for a greater inner strength, a
more imaginative response, let their instincts lead them. The adviser makes
vocal the audience’s opinion and judgement, but also their curiosity and
delight. It’s brought out into the open so the solo clown can play with it, use
it to generate material and develop new ways of engaging with the crowd.
The following exercises contain techniques that can help structure a solo
routine or scene and give it a greater coherence, as well as offer ways to
develop performance material.
PASS IT AROUND
The first three variations have the players moving and vocalizing in a
big, broad way, while the latter three get them focusing on their
partner’s physicality and sharing transition moments with each other
and the audience. These variations usually produce some joyful,
crazy play, at the same time teaching clarity, specificity and good
comic timing.
Variation 1—Silly sound The players stand in a circle. They do a vocal

warm up together, rising up and down in pitch, making sounds that are soft
and loud, slow and fast. The starting player steps into the center, looks
at her audience in the circle in a formal way as if she is about to perform
high art. She takes a deep breath . . . and makes a silly sound and a movement
to go with it. She repeats this a few times, takes a bow, all formal and
serious, steps back to her place in the circle, raises her hands like a
conductor preparing the orchestra, brings her hands down and the group
repeats the silly sound and movement, together. The group bow to each
other, impressed with themselves. The starting player gestures formally to
player to her left. He steps into the circle and repeats the sequence. Continue
around the circle.
Advice
● “Show a clear difference in physical attitude, facial expressions and
energy, between the formality at the start, the silly sound and
movement, then back to the formal bow. Enjoy playing the contrast.”
Variation 2—Big gesture, big sound The players stand in a circle. They do
a vocal warm up. The starting player steps into the circle and makes eye
contact with everyone, giving the impression he’s about to perform
something amazing. He takes a deep breath, assumes a big, expressive pose
and lets loose with a loud, bellowing sound. When he’s finished, the group
applaud and cheer for him. The player receives his applause, quite pleased
with himself, steps back into the circle and gestures formally to the player to
his left. She steps into the circle and repeats the sequence. Continue around
the circle.
Variation 3—Silly walk The players stand in a circle. The starting player
hops in the air and lands inside the circle. As soon as they land, they
break out into a silly walk (player can vocalize if they wish). They move
inside the circle making eye contact with everyone as they show their
walk to all. As soon as they step back into the circle, the player points to
anyone in the circle. He hops in the air, lands inside the circle and does
his silly walk, moving in all directions within the circle, making eye contact
with everyone, showing off his walk. As soon as he steps backs into the circle,
he points to another player and she repeats the sequence. Continue around
the circle.
Clown Solos 123
Advice
● “The hop in the air at the start is like being jolted with electricity!
Always be ready to hop into the circle with energy, ready to silly walk
at any moment. Don’t fret about what you’ll do when you’re suddenly
pointed at: work it out when you land from the hop into the circle and
start silly walking.”
Variation 4—Mirror me The players stand in a circle. The starting player

makes a face and assumes a strong pose using his entire body to express an
emotion. He shows this to the group then turns and shows the face and pose
to the player to his left. She mirrors face and pose exactly, shows the reflection
to the group, turns and shows the same face and pose to the next player, who
mirrors it, shows it to the group and turns to the next player. Continue around
the circle. When face and pose gets back to the player who started it, is it the
same? The player to the left of the first player starts a new face and pose.
● When a player turns ready to be mirrored, the adviser counts to six:

the next player in the circle has to mirror the pose in the allotted time.
After the count is through, the Mirror turns and shows the audience,
then turns to the next player who has six seconds to mirror the pose.
How fast can players mirror the pose, show it to the audience, pass it
on and still be accurate?
Advice
● “When observing a player to mirror them, do a full scan of their body:
check the position of their feet, their legs, how they’re holding their
hips, the curve of their spine, the shape of their arms, hands, and
fingers, not just the expression on their face but the emotion they’re
expressing. Be thorough and mirror all parts of your partner’s body.”
Variation 5—Reaction Same as above but the player who is turned to,
reacts to the pose and face instead of mirroring it, shows their reaction to the
group, turns and shows reaction to the next player who reacts to her pose
and face. He shows his reaction to the group, turns, and shows his reaction
to the next player. This sequence continues around the circle. When it gets
back to the starting player, the next person in the circle starts a new pose and
face, turns, and the sequence is repeated around the circle.
Variation 6—Change Same as above, but the player who is turned to reacts
to the pose and face, shows his reaction to the group, changes his pose and
face for the group, then shows his new pose and face to the next person, who
reacts, shows his reaction to the group, changes his pose and face for the
group, shows his new pose and face to the next person. This sequence
continues around the circle. When it gets back to the starting player, the next
person in the circle starts a new pose and face, turns, and the sequence is
repeated around the circle.
Note: Variations 4–6 can be done in smaller groups of five to seven players.
Advice
● “Be sure the change is shown to the group before turning to the next
person in the circle. Don’t rush the transition moments: you want your
audience to see what’s being offered before offering it.”
● “Fully engage with your partners and the audience in every part of the
sequence.”
● “These simple exchanges can be very funny to do and observe. Part of
the enjoyment is the moment of transition and the anticipation it sets
up as to what will happen next. How can you use that simplicity in
performance?”
● “Give your partners your undivided attention so you can fully and
clearly receive what they give you, show this to the audience, and pass
it on. Think of it as a gift you unwrap, discover what’s inside, react to it
and share it.”
● “Make no apologies for the faces, sounds or movements that you make!
Be goofy, odd, beautiful, melodramatic, absurd etc. Work with sounds
and movements that surprise you. Go outside your physical and vocal
comfort zone and provoke others to do the same.”
THE REAL THING

Clowns often play in worlds that are absurd, fantastic, surreal. This
may bewilder an audience as they try to catch up to, or comprehend,
the strange new world that a clown’s act or scene is introducing
Clown Solos 125
them to. Students of clown will often jump right to overplaying an

action, trying to “clown it.” They think the clown must exaggerate an
activity, present it in a cartoon-like manner. My belief is a clown must
expand an action, make it larger or more extensive, give a fuller,
deeper version of it, always connecting the actions and reactions to
real thoughts and emotions.
This exercise starts with an unremarkable action or task to ground
a routine or scene in the real. It then explores ways to embellish the
action. The variations toy with the actions required by the task,
finding comic play by reducing, then expanding the amount of time
a player has to accomplish it. And then embellishing the actions,
turning even the most mundane task into a dance peppered with
absurd, fantastic, and surreal play.
Props: Stage flats or curtains for entrances and exits, props and costumes for
scenes.
Prep: The players decide on a simple task they can present: setting a chair
and sitting in it; putting on a pair of shoes and tying them; sweeping the
stage; stuffing a pile of clothes into a suitcase; hanging a bedsheet on a line,
etc. The players rehearse the task, so they know the basic actions required to
perform it so it’s easy to repeat a number of times. While the task is important,
the main focus will be on the Five Elements. The players gather the props
they need for the task and a costume (or the beginnings of one).
Variation 1—The basics The players take a simple action such as sitting in
a chair and do it the normal way, paying attention to the mechanics of it—
bending at the knees, leaning forward, sticking the butt back, lowering it to
the chair. The players work on their own to edit the action down to the
essential moves and practice doing it in a normal, unadorned way.
Variation 2—Presenting the basics The players show their action as a

short scene. It shouldn’t last more than a minute. The objective is to show
each of the Five Elements:
1 Enter: A player first appears from backstage.
2 Move into the space: The player moves towards the spot on the stage
where she will present.
3 Present: The player presents her action.
4 Leave the space: The player moves towards the exit.

5 Exit: The player presents a final picture of herself just before she exits.
For this variation, the players don’t embellish anything, just keep it
economical, specific.
● At the end of each element, the player holds a pose as if a photo is

being taken.
● The end of each element is marked with a sound, either vocal (e.g. the
player says “Oh”), physical (e.g. a single clap or stomping the foot) or
made with the prop (e.g. knocking on the chair with the knuckles).
● The end of each element is punctuated with a movement of the body
or the prop such as a high kick or turning the chair.
Variation 3—Speed tasking Three players wait backstage ready to run

through their action. Their presentation should be no more than a minute
long. As soon as a player exits, the next one enters and does their task. After
everyone has shown their one-minute scene, they return for a second go: in
this round they must do the action in thirty seconds. They must do everything
they did in the first round, not cutting anything out. For the third round, the
players run the scene in fifteen seconds, for the fourth round, ten seconds.
(In these last two versions, the players can edit, cutting the actions down to
the most economical way of completing the action.)
The players are encouraged to move faster, choose bigger, longer
movements. For example, they could leap onto the stage rather than enter
walking, take long loping strides as they move into and out of the space, find
a flow from one movement to the next in the most economical way possible,
etc. They should also try using the punctuation when speeding up—brief
still poses, sounds, or movements – to see how that adds to the play.
Variation 4—Expanding the task The players take what they’ve learned
from Speed Tasking—shortening the scene and finding a way to flow from
one moment to the next—and stretch this streamlined version to two to
three minutes. They use the extra time to expand certain moments, to reveal
more about what the clown is thinking and feeling, as well as develop the
entrance and movement into the space to build curiosity, tension, drama, as
well as the comic potential of the entire presentation.
Now they can embellish, find variations on the movements required to
perform the task (sweeping gets turned into a dance, tying the shoe becomes
Clown Solos 127
an acrobatic-contortion act, etc.). The players experiment with takes,

multiple ins and outs, they play with patterns of success and failure
(accomplishing the task easily and repeatedly, and then screwing it up or
something falls apart). They look for moments to let the audience in and
reveal more about the clown. The first two variations were about clarifying
the basic actions needed for a task and playing with time, pace and movement.
Now they explore how to embellish on what they’ve learned, all the while
grounding it in the actions necessary to complete a real task.
The adviser can let a few acts try to improvise and expand their actions in
front of the audience to see how it affects their play, or let the players work
their pieces in a rehearsal before presenting. When embellishing, they should
play with speed (go faster in some places, slower in others), genre (play the
action like a horror movie one moment, a RomCom the next), add absurd
elements (a suitcase comes alive and tries to eat a player as she puts clothes
inside it), etc. Using the simple action as the foundation, find variations and
ways to expand on it to create a stronger relationship between the clown and
the audience.
Note: This sequence of variations can also be done with duos and trios
performing a task.
Advice
● “First learn the basic actions to accomplish a task and then how to
present them using the Five Elements. Then you can build, embellish
and enrich.”
● “When Speed Tasking, find a flow between each moment. Cut out
extraneous movements, gestures, steps. Could you skip or cartwheel
to the spot where you will present rather than walk? Could you run
on doing the action, pose, then run out of the space still doing it,
with a final pose before you exit? Can you enter with your props
ready to go right into the action so you don’t lose time fumbling with
them?”
● “Learn how to effectively edit a scene as well as creatively embellish it.”
● “Put an emphasis on an action: stick one leg out straight and hold it
there while bending the other and lowering the body to the seat. Stand
on one side of the chair in profile to the audience and sit, eyes on
audience the whole time. Stand on the chair then drop, legs falling to
either side before sitting down.”
● “Do the action the wrong way, for example, do a headstand on the
chair, lie across it, lie with the back on the seat, the legs draped over the
back of the chair, etc.”
● “Add a flourish: do a pirouette before sitting. Do a back roll into the
chair, do a cartwheel. Throw some confetti in the air and then sit. Move
the arms about, posing and tutting before sitting.”
● “Try any of the above adding an energy: How would an angry person
approach the chair and sit, a paranoid one, an exuberant one? How
does the energy affect the movement towards the chair, the normal
action of sitting, what sort of flourish might an angry person add?”
THE PARTICIPATING AUDIENCE

There are many ways to begin devising a new act or scene (more on
this in Section 14: Devising for Clown and Physical Comedy). Below are
some of the ones I’ve tried both for my own performances and when
collaborating with others creating new work. These exercises utilize
provocation, variation, group improvisation, patterns of success and
failure, and the Five Elements to develop, clarify and expand an act.
Props: Stage flats or curtains for entrances and exits, props and costumes for
acts.
Prep: The players develop a solo routine that involves a simple trick. The whole
sequence uses the Five Elements and should take no more than a minute from
entrance to exit. The trick can involve a skill such as juggling or acrobatics, or
it can be as simple as running in place at breakneck speed, throwing a stick in
the air for a double spin and catching it, popping a balloon by squeezing it, etc.
The players rehearse the trick, so they know the basic actions required to
perform it. While the task is important, the main focus will be on how the
adviser and audience affect the presentation of the trick, and the trick itself.
Variation 1—Reactions The adviser has a series of cards with single words
on them (the words are in bold below). She shows the words to the group
and explains the actions for each word.
Clown Solos 129
Whisper: After a player does their trick and bows, the audience begins
whispering comments—good or bad—to each other about what they’ve just
seen. They comment on the trick, the player, the way they look, their
presentation, etc. The player onstage reacts, then exits.
Bravo: After the player does their trick and bows, the audience leaps to their
feet and cheers wildly, shouting, “BRAVO! AMAZING! INCREDIBLE!”
and other superlatives. The player reacts and exits.
Backs: After the player does his trick and bows, the audience stands up and
turn their backs on him, sometimes glancing over their shoulder to see if the
player is still there, sighing and harrumphing because he still is. The player
reacts and exits.
Salute: After the player does their trick and bows, the audience stands
formally and salutes the player, and stays this way, stiff-backed, chests thrust
out, hand by head, as the player reacts and exits.
Seduce: After the player does their trick and bows, the audience looks at him
seductively. They can vocalize, stay seated, kneel, or stand, pose however they
like. The player reacts and exits.
Hide: After the player does their trick and bows, the audience scrambles to
hide from her. They can whisper, shout or scream as they curl into a ball or
hide under their coats, if there is furniture in the room they scurry under or
behind it, etc. The player onstage reacts and exits.
Boo: After the player does their trick and bows, the audience starts to boo.
They can stay seated or stand, as they holler at him to get off the stage, “Boo!
BOO! Go away!” The player reacts and exits.
Once the cards are explained, three players go backstage with the props they
need for their trick. The adviser shows a card. First player enters and
performs, takes a bow. The audience reacts. The player’s response to the
crowd is short, they don’t draw it out or milk it. If they want to protest a
response or seek more of it, they can do so as they move out of the space
towards the exit. Once they’re gone, the adviser shows a new card and cues
the next player. They enter and perform. Once all three have had a turn, a
new trio go backstage.
Note: This can be developed into a group scene to perform, with some of the
players in the audience ready to react to the player onstage. He could exit and
reenter a few times, get a different response each time. Players in the audience
can even encourage the crowd to join in! The group can develop this simple set
up into a scene that brings all of them onto the stage including those players
planted in the audience.
Variation 2—Substitute The player enters and presents her act. At any
point, anyone in the audience can call “Sub!” The player onstage freezes,
while the person who called out assumes the pose of the one onstage (and
takes their prop if there is one). The player onstage steps into the audience
and says “Go!” The sub can back up a few beats to show a new way of playing
the previous moment or continue on from the place it was stopped. Sub
continues until someone else calls “Sub!” or they finish the act and exit.
Subs should come in with a strong idea, commit to it and play it until
someone—including the one whose act it is—calls “Sub!” This can be called
out to replay any of the Five Elements. For example, if someone thinks of a
better entrance, they can call “Sub!” as soon as a player steps onstage; Sub
offers a different way for a player to enter. Or after watching the act and a
player’s exit, Sub can offer another way of leaving the stage that she thinks
better suits the act.
Variation 3—Love–Hate One player waits backstage. He enters to present

his act. When he’s finished and receives his applause, the adviser—playing
the part of the Interrupting Critic—praises the player. “We love your act.
You’re so talented. How did you get so good? Can you show us that one part
again? Amazing.” The player shows the “one part” again (the Critic doesn’t
say which part, the player has to guess). The adviser abruptly changes the
critique. “Actually, you know what? That was terrible. Do that one part again.
That was awful! I can’t believe you thought this was good.” The back-and-
forth between love and hate from the Critic continues as the player responds,
however he feels in the moment. The player can exit at any time or the Critic
sends him off.
The player should react honestly to whatever is said—grow sad, irritated,
apologetic, pleased, joyful, defiant, etc. He should look at ways to use his
reaction to gain sympathy and create an alliance with the audience. The
objective is not to turn the Critic into a villain, but to use what she says to
connect with the audience and show various sides of the clown by how the
player reacts to the comments, the love, and the hate.
Clown Solos 131
Advice
● “Use the critique to push you to develop new ideas, willing to carry on
no matter what is thrown at you. Turn the negative into an advantage.
Use it, play with it.”
Variation 4—The fail The players are given rehearsal time to create a
moment in their presentation when something goes wrong (e.g. they drop a
juggling ball, a player trips as he goes into a cartwheel, bumps the flat or gets
tangled in the curtain on her entrance, their prop breaks just as they start the
trick).
When the fail happens, the player reacts to it honestly. For this variation,
they don’t try to make it comic, but show how they really feel when something
goes wrong. The adviser tells the players to think back to times when they
had failed and asks how that felt. Can they recreate that same depth of feeling
in this moment? The player decides on the fail and explores their reaction.
They can also recall their responses to earlier exercises like Reactions,
Speed Tasking, Love/Hate—any variations that caused problems during their
presentation—and see if these will help them find a believable fail. They then
rehearse it into the act: they enter full of poise and confidence, ready to
entertain their audience! The fail happens and reveals an opening, a crack in
the mask of the strong, confident performer. The player explores the moment
of failure and their reaction to it, then makes an exit.
The adviser sets a one minute time limit for the presentation and the fail.
Advice
● “What is the most dramatic, surprising, upsetting way for your trick to
go wrong? Drop one ball or all three? A slight trip and stumble or
crash into a wall? Have the leg on the chair break, or put a foot right
through the seat? Create surprise, tension, sympathy, etc., in the way
you craft the fail.”
● “Rehearse with all the elements—costume, space, props—so the fail is
believable. Practice the fail, make us believe it’s really a problem. Don’t
create a “clowny” problem, one that the audience will never believe is a
real obstacle for you. Create drama alongside the comedy.”
● “When you enter, make us believe all will be grand—you’re a master!—
before you fail. Create a strong contrast between who you appear to be
when you enter and prepare, and who is revealed after the fail.”
● “Create a moment of failure that is real, that affects you and us. Then—
and this may sound like a contradiction—rehearse it so you can repeat
it, make it real for you and for us, every time. It requires you to show
vulnerability in the moment, each time you do it.”
● “When watching each other fail, make notes about how you feel about
the player’s reaction, your reaction to them, and how it changes your
relationship with the player onstage. Use this information in your own
explorations.”
● “Use the Five Elements wisely: Where do you enter from, how do you
move from the entrance to the place where you’ll prepare? How do you
then move to where you’ll present? How will you exit after the fail? The
objective is to not only to present an act but reveal something about
yourself using the Five Elements.”
Variation 5—The bounce Once the adviser feels the players have found a
strong presentation and trick and have learned to work the fail so it’s
believable and the reaction opens the player up, he asks them to find the
bounce: the moment after the fail when they recover. The player takes the
energy of the fail—which is usually one of defeat, disappointment, irritation,
frustration, etc.—and moves from this “negative” energy towards insight, a
new direction, an opening up into play. Once the audience witnesses the
player’s response to failure, they see the fail transformed.
For example, her reaction to the fail is stomping on the balls after
dropping them, only to discover that she can kick them up from the
ground with her feet into a three-ball juggle. Or, pulling himself up from a
fall, he trips again and again, recovering suddenly by throwing himself into
a cartwheel, transforming the trick into something more playful—the
accidental execution of the trick surprises both player and audience. The
prop that has broken during the act gives player a new idea and she creates a
whole new game on the spot, invents a brand-new trick with the broken
prop.
The players should allow themselves to sink into the fail, play with its
negative energy, and see if that leads to a new possibility. Their act then flows
from the self-assured, graceful, larger-than-life energy of the confident,
performer, into the negative, revealing energy of the fail, to the transformative,
playful spirit of the bounce. The fail has the potential to build tension, add
drama, deepen the act to reveal more about the clown. It can give a
presentation more dimension and create a much richer comic and dramatic
experience.
Clown Solos 133
Advice on all variations

● “The provocations that are part of all these variations, are there to help
you accumulate ideas and comic business that you can use to develop
your clown, your act and your way of playing. Take notes, create lists of
ideas, things that worked and didn’t work, things you could do
differently.”
● “Ask yourself, what did the audience respond to? Did I feel focused in
what I was doing, or lost? How did the audience respond in those
moments of strength or what felt like weakness (the fail)? Did I feel
connected to the audience and to what I was doing even while I was
being interrupted? The players observing should share feedback, help
each other understand what the audience responds to, wants from a
player, likes or is not so crazy about. Help each other gain insights.”
● “Find the fail and the recovery through your play with the actions and
props; don’t simply map it out in your head. If you carry out the actions
and rehearse them - no matter how committed you are to getting them
right - something will naturally go wrong. Explore all the real ways
your action can go wrong, then expand and embellish the fail. The
same with your reaction: what is your genuine response to things not
going according to your well thought out plan? Open this up to the
audience, give them time to witness your vulnerability. This will help
you find a bounce that is honest, surprising and inspiring.”
Summary
Even if a player wants to work only in groups, they must develop their ability
to hold their own as a solo performer. In every ensemble there will be times
when one player is called upon to do a comic turn, display a skill or take the
lead in a scene. It’s a chance for a player to show more of who they are,
develop their relationship to the audience and their onstage partners. This
section offered exercises that challenged the solo player to think for
themselves and act on their feet, in the moment. The exercises helped develop
the players’ imaginations and their instincts, making them stronger as a solo
performer, and able to offer more when working with an ensemble. The
challenges presented by the adviser via the exercises aimed to “toughen up”
the players, encouraging them to explore a number of different ways of
responding to provocation. They learned to work with different emotions,
energies, and attitudes. This emphasis on failure and variety when devising
gives them a greater range of tools to help build confidence in playing openly
with an audience.
In the next section, we take these stronger solo players and pair them up:
the ideas, energies and physical play developed in Clown Solo are expanded
upon as two players interact, applying the lessons learned from the adviser
acting as Boss Clown and using them in their duo play; the players take on
this role of provocateur, challenging each other as they explore and develop
their solo work in conjunction with a partner.
Figure 7.1 Amica
Hunter and David
Cantor: Clown
duos. Photo credit:
Eric Gillet/Shoot That
Klown.
136
7
Clown Duos
The Wet Towel Intervention

During a five-week study of clown I had a student—I’ll call him Mark—who
was really struggling. Mark would overthink his play to such a degree he
became dumbed down, growing bewildered as he tried to systematically
figure out how to be funny. This led to him always being a few beats behind
the action, struggling to catch up with what others were doing in a scene.
This is a hilarious quality for a clown if they know how to use it, but he
lacked the support of the others; they just thought he was slow and not able
to contribute fast enough when they would trade ideas. By week two he was
so lost the other students were avoiding him, afraid that he would only make
Figure 7.2 A little bit off—David Cantor and Amica Hunter in Bella Culpa.
Photo credit: Steven L. Price.
137
them look bad when playing together onstage. I had to find a way to make
them see that his natural absent-mindedness could be transformed into
clown play if properly framed.
Enter The Washerwomen. This is a well-known clown gag where two or
more male players in drag enter with buckets and clothes to wash. One
bucket is for soaping the clothes, one for rinsing, the other, wringing out. In
the course of washing, the clowns end up hitting each other with the sopping
clothes, dumping buckets of water on each other’s heads and creating a
soaking, soapy mess. I rarely used this gag in teaching—it lacked any nuance
and the playing of it kept students from exploring clowning in deeper ways.
But I needed something extreme that would get Mark out of his head.
I paired Mark up with two other students, I’ll call them Bill and Peter.
Peter was one of the stronger, more experienced, and mature players in the
class that year. I explained what he had to do: Peter was to play the scene as
Mark’s clown partner but when developing and rehearsing the piece,
approach it as his teacher, patiently helping him understand the specific
sequence of washing, rinsing, and wringing out. This way of working was the
antithesis of the exaggeration and knockabout usually associated with the
gag. Peter played the boss as a slightly exasperated father-type, accepting
Mark’s slow-wittedness as his lot in life: “See the cross I must bear? I love
him, even though he drives me crazy.” And in time he did: As the scene
evolved and Mark’s slow-wittedness began to undermine the specific
sequence of wash-rinse-wring out, Peter grew angrier, his (genuine)
exasperation expressing itself in the slapstick of the slinging and hitting with
the wet clothes, throwing water, slipping and sliding on the soapy floor. But
the build from the necessary, very specific, tasks to the bedlam—with
everything ending up in disarray, wet clothes and water everywhere—
including a few wet rags tossed into the audience to be thrown back—came
out of the slow development and reveal of the bond between Boss and Fool.
It was a valuable lesson for everyone: they saw clearly how dynamic,
rambunctious play must grow out of a true relationship between two clowns.
If they can establish this and express it in their actions, the audience will go
with them almost anywhere, trusting and delighting in the duo’s play.
And Mark had a massive breakthrough: suddenly his slowness—the thing
that had so vexed him and led others to avoid him—was seen as a great
advantage when consciously utilized in his clowning. Rather than being
trapped inside his frustration, he was able to step outside of it and use his
slowness with intent; he learned to control it rather than it controlling him.
Mark was better able to contribute ideas because he understood his apparent
Clown Duos 139
weakness as a strength in regard to clowning. Thrilled by the laughs he was

getting, he became much stronger onstage, and delighted in the fact that now
everyone wanted to work with him.
One of my favorite explorations in the classroom is to mix and match
partners and let them experience what different people draw out of them.
The right partner can bring out qualities a player didn’t know they had, and
for this reason, duo work has an enormous effect on the development of a
player’s understanding of clowning.
When partnering, all elements should be taken into account: the natural
energy of each player—match fast and pushy with slow and thoughtful,
match eager with eager, angry with overly helpful, etc. Consider their physical
differences: small with large, brawny with gawky, sour-looking with kind-
faced. How the partners look when simply standing next to one another is
one way to find compatible comedy comrades; some duos can walk onstage
and get a response simply because of the visual contrast or underlying
harmony (or disharmony) between their look and their perceived energy.
The play between two clowns can take many forms. They can be two fools,
or the smart Master and her dumb Servant. The relationship can be mean-
spirited or teasing, romantic or testy. Their union can be based on the
pleasure they experience in playing off one another, or they can turn their
antagonism towards one another into comic play onstage, always a bit
acrimonious and hectic.
The relationship between two clowns should never be forced: the games
and exercises that follow allow partners to discover a natural, honest and
spirited way of interacting, which can then be expanded upon, embellished,
and channeled into clown routines.
REMEMBER ME
This section begins with a simple game of remembering; partners
are given time to get to know each other visually. This is important
for developing familiarity and complicity, as well as increasing the
players’ powers of observation. This is a good game to start partner
work because it puts an emphasis on really seeing others. Taking in
physical details, being able to recall as well as copy them, is a good
first step towards getting to know a partner and playing with them.
Variation 1—Study The players find a partner and decide who is A and
who is B. They face one another about two meters apart. The adviser sets a
time limit of thirty seconds. Player A studies his partner’s appearance—hair
and eye color, clothes (color and style), any distinguishing marks, facial
features, posture, etc. The adviser calls “Time!” Player A turns his back on
player B and tries to describe her, giving as many details as he can recall in
thirty seconds. The players switch roles. Try again with new partners.
Variation 2—Change The players find a partner and face one another.
They study each other’s appearance briefly—the adviser counts off fifteen
seconds—then turn their backs on each other. They each change one thing
about their appearance (hair style, clothes, posture, etc.). When they have
each done so they say “Ready!” and turn to face one another. They each try
to discover what their partner has changed (the change must be visible).
Repeat a few times, then try it again with new partners.
Variation 3—Handshake The players find a partner. They stand in lines

facing each other with about three meters between them. On a cue from the
adviser, they walk forward, meet in the middle and agree on an eccentric way to
shake hands. For example, they make a sawing motion, or swing their arms
side-to-side (make sure no two duos do the same action). Once each duo has
established their eccentric handshake, all the players start to roam around the
room with their eyes closed. The players reach out and shake the hand of anyone
they come into contact with. As soon as contact is made, they try their eccentric
handshake. If the person they find is not their partner, there will be confusion
as both players try to do their moves, but it will only end up a mess. They keep
searching until they find the person who is in sync with their handshake. Once
this happens, the partners open their eyes, step aside and let the others continue
until all have found their partners. Try again with new pairs.
PUSHERS
Acrobats and dancers have a trust for each other that is based on
physical interaction. Although some of the variations that follow are
competitive, the players maintain a proximity to one another that
forces them to listen and connect with their partner in a way that
other types of competitive games don’t encourage.
Clown Duos 141
Props: Masking tape.
Variation 1—Hand-to-hand The players partner up, facing each other

about half a meter apart. They bring their own feet together and press their
palms against their partner’s palms (this remains open and relaxed – they
don’t grip each other’s hands or grab them if they lose their balance). The
objective is for each player to make their partner lose their balance and shift
their feet. No other body contact is allowed except the player’s pushing each
other palm-to-palm, gaining a point each time they force their partner to
shift their feet. The players go for five rounds then try again with new partners.
● Same as above but done in slow motion, no sudden moves allowed.
Variation 2—Back to back Partners sit back to back. Pushing with their
feet, they press their backs together and try to stand up. When they have
achieved this, they walk their feet out slightly and sit again, always
maintaining back-to-back contact. The players can press their hands against
their thighs to assist the up and down movement.
Now the players sit back-to-back and lock arms. A tape line is laid down
at the feet of each player (at the toes). The objective is to push their partner
back until the winner crosses over their partner’s line with both their feet.
The players should stay low, only slightly raised from a seated position. They
go for best out of three, end by repeating the standing and sitting together as
above, then try again with new partners.
Variation 3—Shoulder-to-shoulder Partners bend over and lock the top

of one shoulder together (e.g. right shoulder on opponent’s right shoulder),
their necks pressed against each other’s, heads to one side. They maintain
this contact throughout. A tape line is laid down about half a meter back
from the heels of each player. The only point of contact is shoulder-to-
shoulder, no grabbing each other with the hands. On a signal from the
adviser, the players push their partners from this shoulder to shoulder
connection to get over their opponent’s line with both feet.
Advice
● “Play with degrees of force but also consider tactics: sometimes
strategy can overcome a stronger opponent.”
● “Find ways of getting your opponent off balance rather than always
trying to win by brute force.”
Variation 4—Up and down Partners face each other and reach past their
hands to wrap their fingers around each other’s wrists. They bring their feet
closer together, so their toes are nearly touching. One partner leans back and
straightens their arms as the other bends at the knees and sits. So, one player
is up, the other is down. The player standing then begins to squat as the other
rises, counterbalancing each other so as not to falter or lose their footing.
They continue the up and down seesawing until they can do it smoothly, at
varying speeds, without moving their feet.
MIND LEADING THE BLIND

I have found that some of the best exercises for clown and
physical comedy involve working with the eyes closed or blindfolded.
It forces players to use their other senses, as well as developing
their kinesthetic awareness. They learn to listen, to focus and to
concentrate more acutely. They are especially useful in duo work as
they build trust and teach players to be both good leaders and good
followers.
Props: Blindfolds, or eye masks (like the ones used for sleeping) enough for
half the class with extras (they may get sweaty).
Variation 1—Blind finger The players partner up. One partner is the
Follower, the other the Leader. Followers are blindfolded (or keep eyes
closed). The Leader places a finger under the Follower’s chin. Before they
begin, the adviser shows a gesture that will signal that the Leaders should
swap Followers at some point in the exercise.
Leaders guide their Followers around the room, controlling them with
the touch of the finger under the chin. Pulling the finger forward—always
maintaining contact—cues the Follower to walk forward. More pressure
cues them to move faster, less pressure, slower. Removing the finger means
stopping. Pressure towards the left or right under the chin, signifies a turn in
that direction. The Leader focuses on using the finger and changes in
pressure applied to direct the Follower. Verbal directions are not allowed at
any time. Only finger pressure is used to lead the partner to stop and start,
run, jump, speed up, slow down, lie down, go up on a table, sit in a chair, etc.
Clown Duos 143
The Follower focuses on the pressure of the finger against their chin/neck
and uses this to discover what the Leader wants them to do. The Leader must
be careful to prevent the Follower from bumping into other Followers or
allowing them to trip: the Leader must inspire trust. The Follower must stay
sensitive to the finger under their chin and what the Leader is trying to
communicate via this sole point of contact.
The adviser signals the Leaders to swap Followers: two Leaders make eye
contact, move their Followers closer and take their fingers away signaling
the Followers to stop. Leaders switch, placing their index finger under the
chin of their new Follower and continue (try to do it so the Follower isn’t
aware of the change in Leader). The adviser can signal any number of
switches. Finally, she calls an end to the exercise and the Followers remove
their blindfolds. The players switch, and the Followers are now acting as
Leaders. Try again with new partners.
Variation 2—Blind automobile The players partner up. The Driver (eyes
open) stands behind the Automobile (blindfolded or eyes closed, hands held
up by chest, palms out). The Drivers take their Automobiles for a drive: to
move forward they press a finger against their back between the shoulder
blades. Increased pressure means go faster; a light touch means go slow. To
turn left, a Driver moves his finger to the left shoulder, to turn right he moves
his finger to the right shoulder. To reverse, the Driver slides his finger up to
the back of Automobile’s neck. To stop, he takes his finger away (no contact).
The Drivers must control their Automobiles with care so there are no
collisions. The Automobiles should put all their attention on their Drivers’
point of contact behind them rather than worry about what they can’t see in
front of them. They start slowly, getting used to the commands, then get
more creative. After an allotted time, the adviser tells the players to switch
roles; they then try again with new partners.
Variation 3—Blind doorways Half of the class partner up. Partners stand
randomly around the room and join hands overhead creating a series of
doorways. Each doorway must devise three different sounds: a soothing,
musical sound that lures the players towards their doorway, a warning sound
that tells players they’re about to collide with someone, and a victory sound
that tells players they’ve passed through their doorway successfully. (the
Doorways don’t all have to make the same sounds.) The other half of the
class now close their eyes; they are the Seekers. The Doorways make their
soothing sounds to lure the Seekers towards them. If they see a risk of
collision with a Doorway or another Seeker, the Doorway makes a warning

sound and the Seekers stop or move cautiously. If a Seeker manages to get
through, the Doorway makes the victory sound. The Seeker keeps track of
these: when she has passed through five Doorways, she can open her eyes.
She then steps aside until everyone has passed through five Doorways. The
players then switch roles, with the Seekers creating Doorways and the
Doorways becoming the Seekers.
Variation 4—Blind voice The adviser sets up an obstacle course using mats,
tables, chairs, wooden boxes etc. All pieces should be sturdy enough to climb
or step on and should have no sharp edges. The players partner up. One is
blindfolded (or closes their eyes). They are the Explorer. Their partner is the
Director (whose eyes are open). The Director leads their blindfolded Explorer
around the room, giving them verbal instructions on where to move to avoid
bumping into things and other players, directs them to walk forward or
backward, turn left or right, sit, climb, step over, crawl under, roll over, etc., the
obstacles scattered about the room. The Director walks close enough to her
partner so she can be heard but will not confuse other blindfolded Explorers.
The Director avoids any physical contact with her Explorer unless this is
absolutely necessary to prevent their partner from getting hurt. The Explorer
keeps their hands up to protect themselves, but should try not to grope about
too much and instead, trust the Director to lead them. After an allotted time,
the adviser tells the players to switch roles, then try again with new partners.
FOLLOWED
One clown following another in sync is an effective way to visually
connect players; right away the audience sees them relate and play.
Shadowing someone like this inspires curiosity and builds suspense:
the audience waits for a break in the shadowing to see how the duo
will interact. It’s a good way for players to start a partnership: without
too much discussion or debating over ideas, they make a connection
and can develop material from this simple interaction.
Variation 1—My companion The players partner up. One is the Companion,
the other the Leader. The Leader begins to move with his partner shadowing
Clown Duos 145
him, imitating what he does while walking in sync behind him. The Leader
walks, runs, stops, slows down her movement, looks about, gesticulates etc,
thus giving his Companion lots of things to copy and play with.
Though following, the Companion has a mind of her own. For example,
the Leader gestures to something. Her Companion moves to it and stops
following the Leader. But the Leader was only pointing at it. He grabs his
Companion and pulls her back to stand behind him. Or the Leader may ask
his Companion to fetch something by gesturing to it, but his Companion
just copies the gesture. The Leader gets irritated and bullies his Companion.
His Companion bullies back. They start to wrestle . . . .
It begins as a simple exercise of walking behind a partner and imitating
them, which then leads to a development and expansion of the clowns’
relationship. Partners roam about the room exploring leading and following.
After an allotted time, the adviser tells them to switch roles, then try again
with new partners.
Variation 2—My companion in and out The players partner up. They
decide who will lead first. They go backstage. The Leader enters with his
Companion following. The Leader can decide on a task, for example, he’s
going to set up some chairs. Or they create an environment: they’ve come to
the big city to take a look around. Or it can be simply a movement exploration.
Play the shadowing as in Variation 1, with the addition of entrances and exits
and actions played for an audience.
Variation 3—Following fool This variation starts with the Companion

following and imitating, maintaining a low status. Once this is established,
the Companion finds moments to caricature the Leader and make fun of
her. Every now and then, the Leader looks back or turns completely around
trying to catch him. Her Companion must not get caught out: when the
Leader turns, her Companion pretends to be doing nothing, simply following
as he’s supposed to or scratching his head, combing his hair, etc. The Leader
plays the game of trying to catch her Companion who plays the game of
trying not to get caught (while taking every chance he can to make fun of the
Leader).
The Leader should do things that beg to be caricatured: strut around like
she’s queen of the ball, fix and admire her hair, do a task in a self-important
way. She can also do something that would be difficult for her Companion to
imitate, such as an elaborate dance sequence. After an allotted time, the
adviser tells the players to switch roles.
● Players are given time to create a short shadowing scene, rehearse it

and present it to the class.
Advice
● “Find variety: The Companion is supposed to follow the Leader but
sometimes steps out on his own. The Leader instigates everything but
may also allow the Companion to go off on his own and then play the
game of reminding him that he is following her. The Leader may also
follow her Companion for a few moments to see how they’ll react.
Make it a game as well as a scene.”
● “The Leader can use a variety of movements to challenge the
Companion, then get annoyed when they can’t keep up or gets things
wrong. The Companion can stop following and simply observe the
Leader, wonder what he’s doing. The Companion could even try to
sneak off and quit following.”
● “Explore not only how the physical play expresses your relationship,
but how to find variety in your roles as a leader and a follower. Status
does not always have to be shown in an overt way.”
Variation 4—Energies All players find a partner. The adviser lays out a
series of props. Each player mentally chooses two energies: an energy is an
emotional state that animates and drives the clown. Some examples are joy,
anger, frustration, curiosity, greed, confusion, paranoia, etc. These energies
should be strong enough that they encourage dynamic play; don’t choose
tiredness, for example, or boredom. Once they have two energies, the players
choose a prop through which to reveal them. They step backstage with the
prop. The adviser calls out the following sequence:
1 Player A enters expressing his first energy in how he enters, uses the
prop and moves about the stage.
2 Player B enters expressing her first energy in how she enters, uses the
prop and moves about the stage.
3 A sees B and changes his energy to match hers.
4 B notices the change and switches to her second energy.
5 A notices the change and switches to his second energy.
6 B changes to match him.
7 The players find an ending and exit.
Clown Duos 147
Here’s an example: Player A chooses a rope and joy as his first energy.
Everything he does—the way he enters, moves through the space, plays with
the rope—expresses joy. For example, he jumps rope, swings it over his head,
laughing and leaping about. B chooses a cardboard box and shyness as her
first energy. She enters gradually, tries to hide in the box. A sees this and finds
the moment when he takes on her energy—shyness—and expresses it in
how he uses the rope: he may try to hide in the rope, wrap it around himself.
They play this change for a few moments, then B switches to her second
energy, anger, suddenly thumping A with the box. She could try to strangle
the box, tear off a flap . . . Player A reacts to this (with shyness) trying
desperately to hide behind his rope. He finds his moment to switch to his
second energy, lust. He gets flirty with the rope, stroking it, dancing with it in
a seductive way, which only makes B angrier! She finds her moment to match
his energy. Now they are both lusty, expressing it through how they play with
the box and the rope. They improvise an ending and exit.
It’s important that the players stay with the energies they choose
throughout the scene. Due to nervousness or inexperience, they will
sometimes switch to a completely different emotion as they react to their
partner. Forcing them to stick to the energies they’ve chosen encourages
them to explore the degrees of these emotions. For example, to express anger
as it increases towards rage, or lust as it softens towards being coy. This
enables the players to learn how degrees of an energy affect them emotionally,
mentally, and, most of all, how they express it physically and share it with the
audience. Too often, players will shy away from expressing a higher level of
an emotion and veer off into something less challenging or try to be clever
in an attempt to get an easy laugh. This exercise is an opportunity to develop
the expressiveness and expansiveness that is crucial to clowning.
Note: The adviser can let the players explore on their own to get a feel for how
to use the props to express an energy, before doing the exercise for the class. The
adviser can call out the sequence of switches if necessary.
Advice
● “Explore as many possible uses for the prop to express the energies you
choose.”
● “Stay connected with your partner so the exchange of emotions has a
flow. Don’t try to be clever or force a transition. Let ideas come out of
the play between you both.”
● “Find degrees in the emotional state: play it subtle, play it big, and
everything in between.”
● “Make dynamic choices so your partner has something to play off of,
and the audience can clearly see what’s driving the clown.”
Variation 5—Juxtapose In this variation, the players use the solo pieces
they developed in Section 6: Clown Solos. Two routines that involve a simple
trick are played side-by-side (the adviser can decide which pieces might go
well together because of their similarities or because they might create
interesting juxtapositions).
The players enter, stand side-by-side with a two-meter gap between them,
and present their two solos at the same time. They don’t change what they’ve
rehearsed, nor do they interact with the player next to them. The pieces are
presented as is, with no deliberate attempt to connect them (like a two-ring
circus). The audience looks for moments of synchronicity, strong contrasts,
a convergence of ideas, etc., and gives feedback. After everyone has gone, the
partners are given time to rehearse the pieces and incorporate the feedback,
finding ways of interacting and creating more of a relationship and a scene
as a duo while still presenting their solo acts.
Advice
● “Play with your reactions to each other as you explore each of the Five
Elements. Are you surprised by each other when you enter? Are you
confused but carry on, occasionally glancing at this person performing
next to you? Do you stop and watch them perform, then do your act?
You could choose to support one another, alternate who gives who full
focus as you run through the Five Elements.”
● “Explore how two distinct, separately created solos can be comingled
to create a duo act.”
MATCH MY MOOD
These exercises further explore the clown as energy. They help
the players develop rhythm, timing and the ability to listen. Just
as we exercise our bodies to build up strength and encourage
new possibilities in movement, so we must work with our
Clown Duos 149
energies/emotions to increase their depth and range in order to

develop and deepen the relationship between partners and the
audience. These exchanges can be used any time the players are
improvising or devising: by matching energies with a partner you
immediately establish a connection, engaging with them emotionally
and physically.
Props: Stage flats or curtains for entrances and exits.
Variation 1—Duo match Two players, A and B, are backstage. Player A

enters in a relaxed state, displaying no particular energy or emotion. B enters
with an energy and a physicality that expresses it. For example, joyful, angry,
frightened, depressed, confused, etc. A matches B’s energy, taking on the
same level of intensity—neither higher nor lower. They play with the energy
together, both expressing happiness for example, then A exits. B continues
with the energy she entered with. Player A reenters with a new energy, B
transitions to match it. They interact with each other for a few moments,
then B exits. A continues with the energy he just entered with. B reenters
with a new energy. A transitions to match it. They interact with each other
for a few moments, then both players exit expressing the energy.
The players should be reminded of the work they did with the Five
Elements and explore ways of entering and using the space to help express
the energies they’re working with. How can they use the flat or curtain, how
do they move into the space, where do they move to, in order to better
express the energy?
These are a series of mini scenes combining entrances and exits, observing,
listening and responding to a partner, mirroring their energy (not just their
physicality), and playing with the transitions between energies. Though the
scenes are short, there’s a lot going on.
Variation 2—Opposites Two players are backstage. Same sequence as

above but player A changes to the opposite energy of B. For example, after
A enters in a relaxed and neutral state, B enters full of energy, and is
joyful. Player A transitions to being sluggish and surly. They play with these
opposite energies, then A exits. B continues with the energy he entered with.
A reenters with a new energy, B transitions to the opposite of it. They interact
with each other for a few moments, then B exits. Player A continues with the
energy he entered with. B reenters with a new energy. A transitions to the
opposite of it. They interact with each other for a few moments, then both
players exit.
Advice
● “Make strong clear choices so the energy you enter with is easy to read
and understood by your partner and the audience.”
● “Don’t comment on or question the energy your partner enters with
but validate and support it by participating in it. This creates an
immediate connection and encourages complicity.”
● “Share the changes with the audience, get them engaged with your play.”
● “Don’t try to force the play into a scene right away, just explore the
energy between you.”
THE BIG WIND UP

When I worked in the Ringling Bros. and Barnum & Bailey circus, I
noticed that many of the clown gags went from minimum to
MAXIMUM: the energy and action built up until it exploded. Many
times, there was an actual explosion, a bit of gunpowder in a small
sheath of plastic film set off by an electric match. This “squib” was
built into costumes and props: pants exploded, hats, boxes, furniture
. . . In this exercise, the players build the energy and tension in a
scene till there is a physical and emotional explosion.
This is a good exercise for teaching the players the basics of
minimum-to-MAXIMUM! Learning to master this kind of escalation
gives the players an important tool to work with in any scene. The
variations below can be worked on over a period of days so by the
end, they will have created strong scenes as well as learned how to
use the technique in an improv situation.
Props: Stage flats or curtains for entrances and exits, props for the scenes
players create.
Variation 1—Count to ten Two players, one is the Jobber, the other, the
Interrupter. The Jobber enters and starts an activity that requires him to be
focused and concentrated. It can be as simple as sweeping the floor, setting a
Clown Duos 151
chair, or measuring the stage with a tape measure. The Interrupter enters and
interrupts the Jobber deeply focused on his task. He sees her and silently
counts to ten (he can go still, continue what he is doing as he counts, or find
a variation on the action), as the Interrupter keeps trying to get his attention
or distract him. The Jobber builds the intensity of his reaction with each
count so that on ten he’s ready to EXPLODE! On the count of ten, the
Jobber chases the Interrupter off stage. The players take a breath and run the
scene again, switching roles.
Note: These are meant to be short scenes—thirty seconds or less—so the players
can run them a few times. They don’t spend time discussing what they’ll do:
they enter, run the scene, exit, switch roles, run it again. They sit and watch
others have a go, then go again, using ideas they picked up from watching their
classmates. Once they get the hang of a straightforward vertical escalation of
energy, they explore ways to vary their reactions. For example, vary the timing,
allowing more space for reactions between counting each number, in order to
build suspense. For example, at nine, just before the explosion, the Jobber might
go completely silent and relaxed . . . then EXPLODE! At six, after getting
angrier and angrier, the Jobber might smile, put an arm around the Interrupter,
before throwing them offstage at ten, and exiting after her. Adding time between
numbers gives both players the opportunity to interact and build the tension,
always winding up the energy towards an explosion (see Jackie Gleason’s slow
build and bombastic responses to Art Carney in The Honeymooners).
Variation 2—Interrupting in and out There are two players with the same
roles as Variation 1. The Jobber enters and starts an activity that requires her
to be focused and concentrated. The Interrupter enters and exits a number
of times: the entrance can be just a look, a stumble onto the stage, a walk
through, etc. The constant in and out interrupts the Jobber at her work,
escalating the dramatic tension and comic play between them until it
explodes (each entrance breaks the Jobber’s concentration and increases her
irritation). The Jobber chases the Interrupter offstage.
Note: In either of these variations, the players can choose the energy they’ll
escalate: the most obvious is to get angry, but they can also choose to become
romantic, sad, frighteningly happy, etc. The Interrupter is both the catalyst and
the target for the energy that will be released. For example, the Interrupter’s
entrances scare the Jobber. The fear increases until the Jobber is terrified and
runs off screaming (rather than chasing the Interrupter off stage). Or the
entrances intrigue the Jobber and she tries to charm the Interrupter (both
players must maintain the game of focusing on the task, the entering and
exiting, and counting down, and not turn it into a drawn-out scene).
Advice
● “As the Jobber, be intensely focused on what you’re doing no matter
how simple or absurd. The more concentrated you are, the more
effective are the moments when you’re disturbed by the Interrupter.”
● “As the Interrupter, find the best moments to enter to build tension.
Make the interruptions jarring, dramatic, subtle, comic. Use the entrances
to build the energy in the scene. For example, wait until the tape measure
is fully extended, then enter, distracting the Jobber and the entire tape
snaps back into its case. The Jobber has to start all over again.”
● “Both of you are responsible for escalating the energy in the scene, the
tension between you—and the comic possibilities of that tension—by
how you react to each other. Each interruption builds on the previous
one, and though things may appear to return to normal—the Jobber
goes back to his job—the energy underlying the scene should be
building to an explosion. This must be evident to the audience; they
should feel the build in energy and agitation.”
● “Start small: set up the situation in a relaxed way. Take the time to
establish the activity, draw the audience in, build a relationship with
them via a familiar task. Control the escalation in order to bring the
audience with you. The right moment to speed things up and find the
explosion will come if the escalation is set up properly and not rushed.”
● “The Interrupter can be both helpful and irritating. The Jobber can be
polite and accepting, as well as frustrated and angry. If you get stuck on
one way of playing, try its opposite. Vary the relational dynamic.”
SURPRISE, SURPRISE
These variations utilize props to get partners to challenge and play off
of each other. They’re explorations, a way to generate ideas for
different props that can then be used in most any scene. The players
should both provoke each other and collaborate as they use the
props in inventive ways.
Clown Duos 153
Props: Objects to play with, preferably soft, like a towel, a ball, a foam bat, a
plastic bottle, a newspaper, a hoodie, a pillow, a soft purse, etc. Nothing fragile
or with sharp edges.
Variation 1—Object play There are two players, A and B. Each one chooses
an object. B does something with his object—turns it into a mask, a hat,
throws it high in the air, drops it on the floor and stomps on it, hits
himself with it, etc. A reacts then does something with her object to get a
reaction from B. They continue this back-and-forth with their chosen props.
They can also threaten each other, entertain each other, try and shock,
disgust, confuse, or scare each other, with how they handle the prop. They
can try seduction, intrigue, repetition, nonsense. They take a breather when
they feel they’ve run out of ideas, then try to work out a sequence in a more
deliberate way: what props and actions should start the sequence, how do
they move things along, escalate the energy, what moments are engaging,
what don’t seem to achieve a desired effect? From these choices, the players
construct a minimum-to-MAXIMUM sequence, building the prop ideas
and reactions so they top out, building up the energy between them and
then making an exit. They rehearse the sequence, then show their scenes to
the class.
Variation 2—Same object Same as above, but each player uses the same
object, trying to find as many different ways to get a response from their
partner with only a single prop to play with.
Variation 3—Box o’objects Same as Variation 1, but each player has a box
full of objects and they choose which ones they’ll use to surprise and play
with, with their partner.
Variation 4—Script it Same as Variation 3, but as the players develop the

scene with one object, they deliberately script in other props and choreograph
the scene. “A hammer would escalate this—let’s get a hammer!” They rehearse
the sequence then show their scenes to the class.
Note: These don’t have to be finished scenes; they are explorations, a chance to
develop a list of ideas, actions and exchanges that utilize props. These can be
included in more advanced scenes as moments of duo play, or improvisations
where two players confront one another and start grabbing props to intimidate,
charm, argue with, or express love for their partner.
EMBRACE
This is a simple and at times, beautiful exercise, which gives the
players a chance to experience an emotional build, an explosion and
a release that is nonverbal, physical and playful.
Divide the class in half. They form two lines at opposite corners (use the
diagonal corners so there is more space between the players). The first player
in each line turns so they face away from each other. They take a few deep
breaths to get into a relaxed state. At some point, they sense their partner is
near. They turn and face them from across the room. The partners see each
other: there is a feeling of relief and joy at seeing them, they are filled with
gratitude and love. The emotions increase. As it builds, it animates and
agitates the two players, the strong emotions and the desire to connect,
affecting their bodies, their faces, the sounds they make; they don’t want to
stand apart, they want to close this gap between them. They let the energy
build to the point where they suddenly launch themselves from their spot
and meet in the center of the room and embrace! The embrace has its
moment; the players experience the connection and let it play out without
trying to force a scene; they just enjoy the connection. The players step away
and sit to watch the others embrace.
Advice
● “Build to the moment of connection, play out the anticipation until it
EXPLODES! and is released into the movement towards one another
and the embrace.”
● “Keep it honest and real. Truly connect with your partner and build
the moment together.”
Summary
Building a relationship between two players takes time. Some of the exercises
in this section allowed the players to progress their connection slowly and
with subtlety, using observation and simple physical contact to develop an
awareness of their partner and their reaction to provocation. These exchanges
continued the process of building trust in the ensemble, but now it’s focused
Clown Duos 155
on only one person. The players learned to follow, lead, and to give themselves
over to their partner in a responsible way. Other exercises encouraged a
more vigorous interaction, with the players challenging one another in ways
that were both earnest and ludicrous. Connecting with a partner emotionally
was emphasized: this increased and deepened the players’ ability to connect
to the world around them and manifest this awareness in how they played
with their partner.
This section also carried over the solo work, encouraging the players to
use their explorations from the previous section and see how working with
a partner altered and enhanced their ideas and solo acts. Status play between
the Boss and the Fool was introduced. This will be explored further in the
next section.
Figure 8.1 Devin Shacket, Ariel Speedwagon, and Windy Wynazz: Clown
trios. Photo credit: Eric Gillet/Shoot That Klown.
156
8
Clown Trios
Boss, Negotiator, Fool

I’ve had a number of experiences with clown trios over the years both as a
performer and teacher. The first trio I worked with was the Abbotts of
Unreason. We met at the Ringling Bros. and Barnum & Bailey Clown College
and had a good rapport while there. After declining an offer to tour another
year with the circus, I joined Mark Renfrow and Bob Schiele in Michigan,
and together we began the slow process of discovering how to play as a trio.
The most obvious approach was to combine our solo talents into duo and
trio routines. We all had some skill at juggling and acrobatics, so we evolved
these into ball-and-club passing routines interspersed with acrobatic
Figure 8.2 Clown trio Rebecca Hammond, Katrina Kroetch, and Paul
Philion. Photo credit: Eric Gillet/Shoot That Klown.
157
slapstick comedy. As our relationship evolved through our explorations in

the studio, various routines we created, and time spent hanging out together,
our natural tendencies were transformed into status play onstage.
The personalities of my partners were quite different. Status play with
Bob was gentler than it was with Mark: he and I battled for the crowd’s
attention more often. In time, we learned to honor each other’s contributions
to the group and not always fight for laughs or applause. The skill routines
helped that process: we had to learn to cooperate when passing juggling
clubs or throwing each other for a backflip. This is one of the great things we
discovered about shared skills: they can help partners build a deeper trust
and a way of cooperating that goes beyond ego and competition.
As we got to know one another, we let our offstage relationship feed into
our clown play: we tried not to predetermine too much and let the hierarchy
evolve according to how we interacted naturally. We also discovered that the
trio play helped us develop our individual clowns, which then fed into how
we played with group status. Our show became a combination of trio, duo,
and solo turns that expressed and expanded on the connections we’d made
as creators and as friends. By exploring the natural interplay between us, in
combination with the skills we chose to feature, we began to develop our trio
and our status play organically, rather than impose roles on each other and
set a strict hierarchy from the start.
This also happened with the second group I worked with, Los Payasos
Mendigos (the Beggar Clowns). We were all strong solo performers so, when
we got together, we fought for the crowd’s attention. But the respect we had
for each other’s solo work is what brought us together, and that soon altered
how we played onstage: we learned to step back and let each other take the
lead, trust and give support to solo moments, keeping the status play fluid.
No one was stuck always being the Boss, Negotiator or Fool and some of the
best clowning came when one of us broke away from our usual role within
the group and shattered any notion of a set ranking, sometimes all of us
fighting to be number one, or all playing the fool.
In both groups, we maintained a healthy balance between collaboration
and competition, respect and irreverence, hierarchy and anarchy. It was a
constant balancing act, but it added a giddy tension to our play.
My work with these trios taught me the value of honoring a student’s
natural tendencies, expanding on them to develop their way of clowning,
and letting these tendencies feed into their partner work. It’s not a process of
memorization, imitation, or imposing roles. It’s a personal search and a
development of all facets of a personality. This process increases a player’s
Clown Trios 159
powers of observation, requiring them to tune into what is actually going on

within themselves, in the room, and in their relationships with others. This
training in observing and listening not only helps the players in their
explorations into clowning, it’s vital to how they play with the audience; the
key to good clowning is the ability to constantly tune in and respond to the
crowd while staying aware of a partner’s needs onstage.
The play between the Boss, Negotiator, and Fool creates the perfect set up
to explore variations in status. It is vital for the players to understand status
and its possibilities for comic interaction and creating dramatic tension.
People come up against authority figures every day of their lives—their boss,
the police, the implacable authority of bureaucracy, the rigidity of a physical
object, the complexity of a computer—so how a clown deals with authority
will captivate everyone. It presents a gold mine of potentially hilarious and
compelling moments if the players have a strong understanding of how to
toy with the tension created by authority and hierarchy, by rules and by
status. The trio is the perfect playground for this: like the proverbial third
wheel, the third player knocks everything off balance and keeps the players
on their toes by offering them opportunities to find multiple variations in
their relationship: the Boss can team up with the Negotiator and antagonize
the Fool; the Fool and the Boss can laugh at the Negotiator’s attempts to
make peace; the Fool and the Negotiator can make fun of the Boss. They can
play as three solos trying to win over the audience. They can play together
with a gentle harmony.
In some of the scenes suggested below, each player is jockeying for
position and attention from each other and the audience. This should give
the scenes a sense of urgency and dynamic play. Actions in the scene are
presented as challenges, the players provoking each other as they toy with
their status within the group and search for comic play as they interact.
Notes on Playing the Boss

Students will often play the Boss as a dictator, rigid and mean, shutting down
the play by constantly saying no and stopping what the others are doing. This
approach only works if all the players understand the role: the Boss’ job is to
make the rules. Those rules can be straightforward or absurd. The Boss
simply says, “This is how it’s done!!” even if how it’s done looks completely
mad (see the Monty Python sketch, Self Defense against a Person Armed with
a Banana). His job is to create rules and set up structures so the others can
question and toy with them and, in time, undermine them. His attempts to
maintain discipline, his strict adherence to the rules, his demanding nature,
may all appear to shut down the play, but the Boss’s perceived severity should
be played as a provocation, encouraging others to bend and break his rules,
toy with his structure, make fun of him as they turn rigid routine into
spirited play. Part of the pleasure and the comedy comes from watching the
Boss attempt to control the situation, to see it break down and his rigidity
fracture until he loses it and/or joins in the play.
Another way to perform the Boss is parental rather than authoritarian,
suffering these fools he’s partnered with gladly, guiding them, trying to teach
them in a patient and persistent way.
The Boss also acts as a director within the scene: she has to keep her
antennae up at all times, feeding the others, supporting them, keeping the
scene moving, knowing when to allow tangents and when to rein them in, all
the while listening to how it’s playing for the audience. Though she may
appear to be a fun-killer, the Boss often provides the foundation on which
the fun is built: they provide structure and coherence amidst the hurly-burly
and potential chaos inherent in most clown play.
Notes on Playing the Negotiator

and the Fool
The Negotiator and the Fool must find the balance between maintaining the
hierarchy by heeding, sometimes fearing the Boss, versus provoking her,
bending her rules and destroying all pretense of a hierarchy. Too often,
students will become self-indulgent when playing subordinate roles,
rebelling and creating chaos too soon, losing the dynamic tension that draws
an audience into a scene and creates empathy for the players. It helps to
establish rules and roles at the outset, creating expectations that can then be
challenged and undermined, as well as adhered to, to create variations in the
trio’s play.
Once the trio sets the scene, the Negotiator and the Fool can test the Boss
to see what they can get away with. It’s a tease as well as a challenge, a game
as well as an outright provocation. They might anger the Boss who retaliates
mercilessly; they must show that they fear this possibility. But their curiosity
and play might also offer new insights, loosen up the Boss, make her laugh,
get her to join with them in breaking the rules. This is when status play can
Clown Trios 161
become a game that all find delight in, even the authoritarian Boss. But the
players mustn’t make it easy: the fear of reprimand, retaliation and
punishment are what helps create drama, builds suspense, ratchets up the
tension, and makes the final release that much more enjoyable.
Like the explorations in the last section, trio work starts with games of
collaboration, encouraging observation, and listening. We then move onto
both overt and subtle expressions of hierarchy and tampering with status
relationships.
GET RHYTHM
This exercise use sounds and beats made with the body—in
combination with movement—to connect the players in a trio. They
learn to listen and play as well as create short vocal and movement-
oriented scenes. The players must adjust to each other’s strengths
and weaknesses, picking up information by concentrating on their
partners via sight and sound. I’ve used this exercise to create short
interludes in scenes or trio routines: audiences always enjoy it when
a group of clowns move as a chorus; the added sounds made with
the body and voice, create another level of enjoyment.
Variation 1—Rhythm trios The players form trios and decide who will use
their hands (clapping) to create a beat, who will use their body (slapping
their hands on any part of their body), and who will use their voice (à la
beatboxing). So, each trio has a player called Hands, Body, and Voice. All the
players spread out around the room making sure to be as far as possible
from their partners. The players create a beat with their chosen method,
keeping the volume low and concentrating on their own beat. If theirs is
similar to someone else’s, that’s OK, but they shouldn’t do it deliberately.
Once everyone has a beat, the adviser calls out, “Trios!” The sound each
player is making increases in volume: they stay true to their own beat as they
seek out that of their partners. As they get closer to one another and hear
their beats, they work to get in sync as a trio. They don’t change the method
of creating the beat—they stay Hands, Body, Voice—they just match the
rhythm so they are all on the same beat but using different methods of
creating it. After a minute or so of group play, the adviser calls out, “Split!”
and the trios separate, scatter about the room, and transition to a new solo
beat. The adviser calls out “Trios!” and the players move towards their
partners to sync up again with their new beats. They can repeat the exercise
in the same trios playing with different beats or create new trios.
Note: When trios come together, they improvise and elaborate on the sounds
they’ve created as solos, turning it into a three-person jam session. They should
take note of the contrast between what they play alone, the more complex
music they create as a trio, and the return to something simpler when they split
apart.
Variation 2—Rhythm and movement Same as above, but this time the
players add movement to the beat they create on their own; they get physical
and dance to the beat they’re making with their hands, body or voice. When
the adviser calls “Trios!” they sync their beats and dance, so the trio is
moving in a similar way to the same beat. Elaborate and embellish as above.
The adviser calls out “Split!” and trios separate, scatter about the room, and
transition to a new solo beat and movement. The adviser calls out, “Trios!”
and the players move towards their partners to sync up again. They can
repeat the exercise in the same trios playing with different beats or create
new trios.
Advice
● “It will be difficult to maintain your beat, find your partners, and get
in sync while all the other trios are doing the same all around you.
Take it as a challenge, pushing you to listen more acutely, focus more
intensely on your partners, and learn to tune out the other sounds in
the room.”
● “Try not to over think it. Keep it simple and let the rhythm, sound, and
movement guide you.”
● “Try to make the transitions smooth. Stay with your solo rhythm
dance until you understand what your partners are offering and make
a smooth change so you’re in sync. Stay with your beat until you find
it – try not to drop out or change abruptly.”
Variation 3—Rhythm conversation The players form trios, each takes a

letter, A, B, and C. They create a small circle. Player A thinks of something to
say, turns to B and expresses it as a rhythm dance, utilizing clapping, slapping
Clown Trios 163
his body, stomping on the floor, making sounds with his mouth, etc. It’s a
beat/movement conversation, not a mime exercise or charades. No words
are involved, only sound.
The players should be sincere in trying to translate their thoughts and
communicate using sounds made with the body, voice, and movement.
Player B watches and listens. When A finishes, B answers him in a similar
way, then turns to her right and expresses her thoughts to C using rhythmic
sound and movement. C watches and listens then gives his answer. C turns
to A and the pattern continues. The players can also send it back: player A
answers C as if to say, “Tell B what I just said,” rather than turning and
“speaking” to B directly. The adviser ends the exercise after an allotted time,
the players create new trios and try again.
Advice
● “Explore and indulge in trying to express yourself with rhythm,
movement and sound, not words.”
● “Don’t rely on charade-like gestures. Let it be abstract, playful. Find
movements that express not just words but emotions, energies. Find a
way of communicating that is rhythm, movement, and sound, not
dumbshow (illustrative mime gestures that spell out an idea or
emotion).”
● “Enjoy the absurd play of it! Imagine it as a language—like gibberish—
that may sound incomprehensible to others, but you and your partners
understand it completely.”
PAPER AND BALLOONS

This game encourages interactive physical play, encourages the
players to develop strategies as a trio, and is a good ensemble
building game (it can be done with more than three people). Here
the trios must work together to keep the papers or balloons from
falling and help each other to stay balanced. I have used this to
develop clown acts and scenes, with trios and larger groups having
to hold paper, balloons, as well as other objects between them while
carrying out a task in front of an audience.
Props: Sheets of paper of different sizes—office paper, postcards, sheets of

newspaper, etc.—at least twelve or more sheets per trio, chairs to set paper
on (one chair per group), balloons of different sizes and shapes, large boxes
to hold inflated balloons (one box for each group).
Variation 1—Paper play The players form trios, each group is given twelve
sheets of paper to start with, set on a chair close by. The objective is for the
players to hold all the sheets of paper between different parts of their bodies.
For example, one player places a piece of paper against his shoulder, a second
player leans his shoulder against this trapping the paper between them. The
third player sets a piece of paper against her hip and pushes it against one of
her partners to trap the paper in a new place (this can be hip to hip, or hip to
thigh—it doesn’t have to be the same body part). The players continue to
pick up sheets of paper and trap them between their body parts—fingers,
foreheads, backs, butts, etc.—never repeating the same holding spot (one
player should keep a hand free until the end to pick up papers). If twelve
sheets are easy, then try more.
● Competition: Once a maximum number of paper sheets is decided

upon, then have the trios compete: first group to hold all their sheets of
paper, without dropping them or falling over, wins.
● Time: The adviser sets a time limit of one minute (or less). The trio
who can hold the most papers before the time is up, wins.
● Sculpture: Trios must create an elaborate three-person sculpture while
holding the papers. They explore ways to support each other, for
example, one person places a paper under their thigh, then lifts it up to
be held in their partner’s hand, forcing them to stay balanced on one
leg until the full sculpture is created. This encourages the groups to get
more creative in how they position themselves while holding the
papers.
Variation 2—Balloon play Same as above, but the players must trap
balloons of different sizes and shapes between their bodies. Balloons are
lighter, softer, may pop or roll about, making them more difficult to trap. Add
Competition, Time, and Sculpture as above.
Note: Once the trio have six or more sheets or balloons held between them,
picking up more papers or balloons may prove difficult. Have them work out
Clown Trios 165
the best way to do this—make it part of the play—or work in groups of four
with one player handing off and helping to set the paper or balloons.
THUMBS
This exercise gets the members of a trio improvising together as
they solve problems, all the while having to listen for the audience’s
help in guessing solutions. It’s a good way to develop the players’
ability to focus on a number of partners while carrying out an action.
Props: A sturdy table and a chair (both should be strong enough to be stood
on), a blanket or sheet.
Table, chair (with seat facing the table) and a blanket are set in a line with a
two- to three-meter gap between each.
Three players leave the room and the adviser shows audience how the trio
must travel past the three props. For example, they must crawl on all fours
over the table, sit on the chair then lift it, holding it against their butt, and
turn body and chair towards the blanket, then crawl under the blanket to the
other side. When everything is set, the trio returns and lines up by the table.
The first player shows a way of getting around the table, for example, he
walks around it. The audience gives him a thumbs down. He returns to the
trio. Another player has a go. If she fails and gets a thumbs down, the third
one tries. They keep trying until one of them gets it and the audience gives
them a thumbs up. The others imitate what she does, and they try to guess
the way around the chair, then the blanket.
The attempts should go quickly, with the players rushing forwards to try
things and watching the audience’s thumbs. If a player’s attempt is close—for
example, they walk across the table rather than crawl—the audience gives
them a thumb up, thumb down gesture, rotating their wrist between the two.
This tells trio that they are close and should look for variations on what
they’re doing. The audience can also vocalize sounds of disapproval, approval,
and something in-between when the players are getting close. They can nod,
waggle, and shake their heads as well.
This can be done in smaller groups with one trio deciding on the props
and the journey and giving a thumbs up to a second trio. Once the first trio
makes it through, they switch roles; the first trio then decide how the second
trio crosses.
Note: Any props can be used as long as they inspire creative ways to get over,
under or around them.
Advice
● “This exercise demands you figure things out physically while creating
a direct relationship to the audience. You must constantly offer
suggestions and seek answers in the form of actions.”
● “The guessing game with the audience will be frustrating at times—
enjoy it! Allow yourself to be bewildered, to be at their mercy and still
keep playing with them.”
FOLLOW YOUR LEADER

This exercise helps partners develop physical harmony and ensemble
play, as well as making their connection visible to the audience. It
encourages members of a trio to keep focused on each other as they
develop their relationship and explore status play.
Three players wait backstage. They’re going to make a journey across the
stage from one wing to the other. They decide who is the Boss, the Negotiator,
and the Fool. They enter with the Boss leading the way, the Negotiator and
Fool right behind her, keeping their eyes on her at all times so they can follow
everything she does; they look where she looks, move and stop whenever she
does, etc. They aim to be so attentive to the Boss that the movement across
the stage—and the energies and attitudes expressed—looks synchronized.
The Negotiator and/or the Fool may step away from the trio and do
something, but only after checking if that’s OK with the Boss. The players
can use vocal sounds but not words. They may pause as they move across the
stage but only briefly: the objective is to travel from one side to the other and
exit, following the Boss’s lead. The trio can reenter after switching roles and
go again, or a new trio goes.
Clown Trios 167
Note: The adviser can let the players improvise in front of the rest of the class or
give them time to play with Follow Your Leader on their own before presenting.
Advice
● “As the Boss, give the others time to see your reactions and make sure
they are with you – keeping their eyes on you – each step of the journey.”
● “Play with time and speed: the Boss can suddenly run then stop
abruptly, move in slow motion with long strides or creep along with
short steps. The Negotiator and Fool can move slow when the Boss
speeds up, or rush past her when she stops abruptly. Make it a game, a
dance, a scene.”
● “Play with building up drama and comedy by the use of stops, pauses,
and starts. Explore head takes, big moves and small, move upstage and
down, walk in diagonals and straight lines, double back, crawl, sneak
about, walk tall, stomp, slide yourself along the curtain or wall. Let the
journey across the stage be filled with movement and physical play!”
STATUS SNAPSHOTS
For physical comedy, it’s important that a player knows how to show
status with their body and be able to snap from high to middle to
low, instantly, using poses, gestures, and facial expressions to
express status. The players must also know how to flow from one
status to another so their position in the group—and the changes in
status as the scene progresses—are not always obvious to the
audience; they’re given time to discover the hierarchy on their own,
and enjoy the slow realization that things are not what they appear
to be.
In this exercise, a trio creates strong tableaux that reveal status.
The adviser gives the groups time to “sculpt” their tableaux using
mirrors. This will help them understand how to use their bodies to
show status and learn some of the visual triggers that say this person
is high or low. For example, high status might try chest and chin up,
fists on hips, looking down their nose at everyone, while low status
might cower, shoulders hunched, eyes downcast. The trios create a
series of tableaux, then show them to the class.
Props: Stage flats or curtains to make entrances and exits, large wall mirrors
so groups can observe themselves as they create tableaux. Or let groups
observe each other and give feedback.
Variation 1—Tableaux: Body and space Working in different areas of the

room, the trios create tableaux, arranging themselves in still poses
representing their status relationship. They wear the clothes they would
normally wear in class; for this variation we’re looking at how their body—
unadorned—expresses status. For the first tableau, they show the hierarchy
in an obvious way using physical attitude, their location on the stage, how
they would use the light (standing in the brightest light or in the shadows).
For the second tableau, the trio changes who has high, middle and low
status and shows the hierarchy in a more subtle way.
For the third, the trio creates a tableau where all have equal status.
They rehearse these three tableaux separately, then put them together,
physically shifting to present each tableau in a sequence.
Variation 2—Shifts Once the players rehearse three tableaux, they present
them to the class. The trio enter together and strike their first tableau (it’s
obvious who has what status). They then shift to the second tableau, changing
status gradually as they move to a new position (showing their status in a
more subtle way). They move again, the status shifting to a tableau where all
have equal status. Is this possible or do the players’ body types naturally
suggest a hierarchy? The adviser can discuss this question with the audience
and give feedback to the players to see if they can achieve equal status visually.
When changing to a more subtle display of status, the players should
consider even the smallest change in how they position or hold their body;
any single part could be used to express status. They should also think about
where they are onstage and use where they are in the space, in relation to
their partners to show status. Does the high-status person come downstage
closest to the audience or stand center stage? Does the lowest status player
hide upstage in the corner out of the main light, or cower downstage, close
to the safety of the audience? The players explore different variations and get
feedback from the audience.
● Add costume elements: The trios add costume pieces and explore how
they might make simple changes in what they’re wearing—tilt their
hat, drape their coat upside down over one shoulder, have a shoe
untied, etc.—to show their status and how it has changed.
Clown Trios 169
● Add props: Props and any scenic elements such as a table, blanket,
chair, etc., can be used to show status. The players keep the choices
simple and explore how different statuses can be revealed through
their physical relationship to a prop (proximity, how it is held, used, sat
on, etc.). Using these accessories, they show a status tableau in an
obvious way, then more subtle, then all are equal in status.
Note: It’s important that the players understand the power of stillness and
creating strong visuals: these tableaux can be used as held “snapshots” to begin
or end a scene; at any point in a performance; or a busy scene can slowly
coalesce into a strong tableau that is held or simply slows down the action—the
tableau is more of a pause rather than a completely still moment. When the
players use tableaux effectively, they encourage the audience to see the world
onstage in new ways. The audience will appreciate the time put into the visual
play, how it adds to the performance, and brings the physical / visual world
into greater relief, opening up more dynamic possibilities for connections
between the audience, the players, and the world around them.
Advice
● “Take an inventory: How are you holding your chest? What is the
shape of your spine? How are your feet planted—do you feel grounded,
balanced or unbalanced—and how does that affect your status? What
are you doing with your arms? Is your face involved in expressing your
status? Stay aware of every detail!”
● “Learn how to shape your body willfully and know what it’s expressing
so you can show status without having to use a mirror. Find the energy
or emotion that will also support the physicalization.”
● “Use the breath to fill the poses with energy as well as express status –
long deep breaths, short, panting ones, long inhales then hold the
breath, loud exhales through gritted teeth, etc.
● “This is a group exercise: How do individuals fit into the total picture?
Show your status but be aware of how your physicality affects and
enhances the poses of others, shows various relationships and creates
an intriguing group picture.”
● “Are you able to display equal status? Or does your physicality express
high or low even when you’re trying not to? What makes a person
appear high or low even if they try to be neutral or equal to everyone
else?”
GET UP
This is based on the old clown gag of clowns fighting over who gets
to sit in a chair. It can be a mental chess game exploring tactics for
getting the chair, as well as getting more physical—even acrobatic—
as the players contend for the chair and play with taking and giving
status.
Props: Stage flats or curtains for making entrances and exits, gym mats, a
sturdy chair (check that it is solid, no loose screws or sharp edges).
Variation 1—One chair The adviser sets a chair onstage. Mats are set
around the chair (this can be set on the mats as long as it doesn’t damage
them). Three players are backstage. They have one objective: all want to sit in
the chair. Player A enters and sits. B and C can enter together or one at a
time.
This is a game of tactics and, sometimes, brute force: the players can
physically remove each other from the chair by pushing, pulling or dumping
their partners. Or they beg, tease, charm, form alliances (two gang up on
one), remove an article of clothing—such as a hat—from the person in the
chair and force them to come and get it, try to befriend, scare, or threaten
them, offer them a gift, encourage them to come to another part of the stage
to see something, etc.
The player in the chair can resist the others’ tactics, encouraging them to
be more inventive, as well as playing along, giving up the chair to see what
happens if they fall for a tactic. They may even offer the chair because they
want to see if they can then convince their partner to give it back to them.
Advice
● “Make the actions and tactics believable! Get up because your partner
does something that truly makes you curious. If they try to lift you out
of the seat and can’t manage it, don’t pretend he’s strong enough. Or
make it obvious you’re pretending as a tactic.”
● “Don’t just turn it into a never-ending wrestling match: pause, give the
audience moments to experience what you’re feeling, thinking,
planning. Show the relationships between you and your partners, give
us time to see and experience your reactions to each other’s efforts.”
Clown Trios 171
● “Work as three solos, at other times, form alliances, two against one.
Form alliances then switch them, double cross each other: B might do
all the work to remove A only to have C get to the chair first. Or B
might get A out of the chair only to offer the chair to C. Or player A
might create a rift in the alliance between B and C by offering the chair
to one of them while blocking the other.”
Variation 2—Two chairs Same as above but use two chairs. The players
enter and explore as many variations as possible for claiming the chairs
using solo tactics, duo and trio strategies. For example, one gets lifted out of
the chair only to have the third player lay across both of them.
Advice
● “Stay aware of how you can use status even while you’re playing in an
actively physical way.”
● “You can choose to give in to a partner and obey them, play low status;
another player may take pity on you and give or win the chair for you.
You can make allegiances, then switch them because you see an
opportunity for yourself to get the chair, or because you feel your
current partner has insulted you. Or hang onto an allegiance even if
your partner treats you with disdain. Make it a scene as well as a game.”
TOP THAT
How a player handles a prop is important: attitude is everything in
this exercise! The player must give off the sense that what he has
done easily tops what the others do, even if to the audience’s eye it’s
not all that impressive. This is the art of chutzpah, exuding self-
confidence or audacity despite appearances to the contrary. What
you do can be fairly ridiculous but you commit to it with the attitude
of, “Oh yeah? Top that!!” The way each player presents themselves
in the scenes is meant to be a parody of an overconfident person.
Props: A long table to put props on, set backstage or off to one side. The
props should be ones that aren’t easily broken, with no sharp bits. Things that
can be treated roughly, torn or crushed such as cardboard boxes, newspapers,

sheets or pillows, paper cups or plates, etc. are good choices.
Variation 1—Swagger There are three players, A, B, and C. They choose a

simple task for the trio to enact. For example, setting a chair onstage, placing
a cloth over a table, putting on a hat, etc. The trio enter with the prop and
begin the scene. The first player does something impressive with the prop.
The next player tries to top that: what she does with the prop is even more
impressive. The third player does the same.
An example: A and B enter and give focus to the entrance of C. They come
out holding the chair at chest height, swing it outwards with one hand and set
it down. B grabs the chair and exits as C joins A to watch. B enters with the chair
overhead and drops it from this height, catching it just before it bangs the floor.
A grabs the chair and exits as B joins C to watch. A comes out with the chair in
one hand and swings it around her body, switching hands as it travels around
her. She ends by swinging it right to the floor downstage of everyone. C grabs
the chair, exits, and they have another round. Each attempt does not have to
involve an entrance and exit, but the in and out can be used to help show status;
they each try to top the others’ entrance as well as the play with the chair.
The players explore both obvious and subtle examples of one-upmanship,
actions that are clearly meant to say, “I’m the best at doing this!!” as well as
actions that make everyone wonder what the player’s intention is; the actions
don’t always have to be bigger or broader. Sometimes being calm and quiet
can achieve a higher status.
The adviser sets a time limit from one to two minutes. The players exit
when time is called.
Variation 2—Alliances Same as above, but the players gang up on each

other by switching allegiances throughout the play. For example, player A
establishes his high status by slamming down the chair. B reinforces A’s status
by slamming it down exactly as A did, then sidles up to A. C puts a finger
against the chair and topples it. A or B can then try to top that or do
something that shows one of them is switching sides and joining C (B
applauds C’s action and stands beside him).
The action for the change of allegiance can be with the prop: B slams
down the chair too. Or without: B congratulates A on his slamming down of
the chair, stands next to him and waits to see what C will do.
The adviser sets a time limit from one to two minutes. The players exit
when time is called.
Clown Trios 173
Note: The advisor can allow the players to explore both variations on their
own, make discoveries and set some things before presenting to the rest of the
class.
Advice
● “Attitude is as important as action! Think of roosters strutting, or the
display of animals challenging each other. You can perform an action
with a prop that suggests nothing in itself in terms of status. But
the way you perform the action says everything about who you aim
to be!”
● “Your attempts to top each other can be obvious or subtle,
straightforward, oblique or absurd. Try not to judge yourself or your
action but play it with confidence.”
● “It’s a competition, the stakes are high. Each action lays down a
challenge, throws down a gauntlet. Don’t just play it for laughs, try to
build drama and suspense into the scene as well.”
● “It’s also a game: keep the play in the exchange, enjoy the pretense, the
near ludicrous, over-confident attitude, especially when doing
something absurd, aggressive or not so impressive.”
DOWN THE LINE

These variations explore a progression of ideas and energies, and
how each of the three statuses—the Boss, Negotiator, and Fool—
react to each other as they play with props. For the players, these
variations are a good way to explore status using objects. For the
adviser, it’s a way to find out which players would make good trios
and who naturally gravitates towards a particular status.
Props: Stage flats or curtains for entrances and exits, a long table, set with
miscellaneous props on one end, and a hat, a book, and a cane.
Variation 1—The little things Three players wait backstage. One wears a
hat, the other holds a book, the other a cane. Each player should wear or hold
the object in a particular way. For example, the hat is set so the brim sits
straight, the cane is held by the top end with both hands, the book is held
closed, against the chest.
They enter and face the audience, standing shoulder to shoulder. They
greet the audience in small ways, smile, nod, etc., but continue to wear or
hold the prop the same way as how they entered with it. At some point, any
one of them does something with their prop that alters the way it was when
they came in. For example, the one with the book opens it and looks at the
pages. Her partners look at her and react, the various expressions on their
faces reprimanding her for altering the position of the book. She returns the
book to its “proper” position against her chest. This play continues with each
player adjusting their prop—tilting the hat brim, throwing it in the air,
tapping the cane against the floor or their palm, etc. Each time someone does
something, the others shoot them surprised, disapproving, scolding looks.
The player reacts and goes back to the way they were, with their prop held
the “proper way.”
Only one player at a time changes: the others watch to see what she will
do, react, and then chide her for the change. Vocal noises are OK, but no
words are allowed.
The players explore these exchanges and see what develops: they could
build it until one of them loses it and does a series of adjustments, not caring
about the “proper way,” or their partners’ reprimands. Or they can keep the
interactions subtle, enjoy the focused play, and make an exit on their own or
on a cue from the adviser.
● The players vary their reactions so they aren’t always reprimanding

their partners but encouraging them to develop more variations on
how they wear, hold or handle the props. This version is more playful
and can be developed from the first variation, or the trio start right in
with the play.
Advice
● “Don’t force anything! This is one of those explorations where you
honor the small exchanges—prop play, looks, reactions. Be patient and
see how things develop. This can then be expanded into more vigorous
play.”
Variation 2—The right way Three players wait backstage. They decide who
has high status, middle and low. The adviser sets a table center stage
Clown Trios 175
with props all at one end of the table. The trio enters and stands behind
the table facing the audience. The player closest to the props is the Boss,
the middle player is the Negotiator, the last player, the Fool. The Boss
takes a prop from the table and uses it as it is supposed to be used. The
actions should be short, straightforward, and easily repeatable. For
example, she picks up a towel, dries her hands in “the right way,”
(remember, this can be a normal use of the object, or absurd to the
audience’s eyes), and passes the towel to the Negotiator. He dries his hands
in the right way and adds a variation by neatly folding the towel. He hands
it to the Fool. She makes an attempt at drying her hands, but begins to
rub the towel over her body instead, tries to balance it on her nose, or
turns it into a hand puppet, etc. The fool’s play can be an absurd variation
on what the Boss has displayed or have no relation to it all. The Fool
sets the prop down; the Boss picks up a second prop and repeats the
sequence.
Each trio passes five props down the line, then exits. A new trio gives it a
go. If there is enough time, the trios can go again and switch roles.
Advice
● “Keep it simple. The exploration with the prop for each player is short
and sweet (though the Fool may go off on a tangent until either of the
other two—or both—stop her).”
● “What the Fool does may or may not be hilarious in and of itself: often
the comedy comes from the reactions of the others. This is important:
it’s your job to support each other’s play and not leave your partner
solely responsible for making her moment work. Give them focus,
react and decide how you will respond, look for both comic and
dramatic possibilities in your interactions.”
● “Don’t drop out once you hand over the prop: focus the audience’s
attention to where you think it should go and encourage their
response by how you focus and respond to your partners. But
don’t overdo it. The objective is to support your partner’s moment,
not steal it.”
● “As the Boss, find a balance between keeping things moving, and
allowing the Negotiator or the Fool to build on an idea and their play
with the prop. Listen closely to how your partner’s play affects the
audience and how you might expand on it and increase the crowd’s
response or end it and move on.”
● “As the Fool, don’t get indulgent. Play and improvise but listen to the
audience: do they want more, or should you hand the moment over to
your partners? You don’t always need to do things wrong or try to get
laughs—you could repeat your partner’s actions to the letter now and
then to build a pattern, an expectation that you or your partners can
disrupt.”
Variation 3—The right way with tasks Three players wait backstage. They
decide who is the Boss, Negotiator, and Fool. The Boss comes up with a simple
task that has a very specific way of being done. For example, a folding chair is
held exactly like this, opened in just this way, and set in this spot and only this
spot. The Boss demonstrates the right way to the others and lets them have a
go. He can let one of them do it wrong and then correct him; he can interrupt
his partners if they don’t follow the instructions to the letter; he can let both
players do it wrong—even watch them enjoy screwing it up or inventing
variations—before stopping them and reminding them of the right way. The
more nit-picky and authoritarian the Boss is about how the task is done, the
more it provokes the other players to screw it up, either deliberately, out of
misunderstanding, from a desire to play, or plain stupidity. The mistakes build
the tension between the players as the Boss tries to assert his status by getting
the others to follow his instructions to the letter. His partners continue to
provoke him and expand on the possibilities with the prop, the rules, and their
relationship, by how they interpret the task. The adviser sets the time limit for
the pieces from one to two minutes. The players exit when time is called.
Variation 4—Changing status Same as Variation 3, but the players can

switch status at any point. This is usually revealed by the reaction of others
to what someone does. For example, the Boss reacts to the action of one of
his inferiors as if he has handled the prop in a clearly novel way! The Boss
bows down to him (literally and/or figuratively), and that player takes on the
attitude that he’s in charge; the others try to imitate the new set of rules (the
way the prop is handled by the new Boss). The players can switch status
again or exit with the new hierarchy.
The adviser sets the time limit for the pieces from one to two minutes. The
players exit when time is called.
Note: In all the variations above, the adviser can allow the players to explore
variations on their own, make discoveries and set some things before presenting
to the rest of the class.
Clown Trios 177
Advice
● “Keep the task short, simple and precise so the demonstration on how
it’s done is easy to repeat.”
● “Don’t fret over being funny or brilliant. Stay open to simply exploring,
getting to know one another and how each of you plays with status
revealed by the prop or task.”
● “As the Boss, play the authoritarian in such a way that outwardly, it
appears to stifle the play, but in inwardly, supports and encourages it.
The Boss shouldn’t stop the action every time the others do it wrong.
Instead, let the partners play, and let the audience see how a player’s
actions affect each person in the trio.”
● “Keep the balance and tension between following orders (and fearing
the consequences of getting it wrong) and provoking the Boss by
screwing things up. Your reactions to each other’s actions are key to
helping the audience understand the group’s hierarchy and how it
might change.”
● “Can you play a believable simpleton? Can you portray someone who
really doesn’t understand how to do a simple task and make the
audience believe that you are truly a fool? Think child-like not childish.
Play with a curiosity and sense of wonder so intense it makes you
appear dumbfounded, foolish.”
● “Explore status shifts, low to high and high to low. Anyone can change
status at any point in the scene—even as you make your exit.”
Summary
The focus on this section was on status and exploring the comic and dramatic
possibilities of creating a hierarchical relationship within a trio, setting up
expectations for the audience, and then toying with both the hierarchy and
the expectations that that ranking creates. Some of the exercises created a
competitive environment for trios to work in, while others had them
collaborating, finding comic interplay in a less contentious way. They
encouraged the players to actively listen to one another and the audience, to
find pleasure in following authority unreservedly, as well as toying with
status, developing comic play through lively confrontation.
Active listening and observing is one of the most important skills a
performer can have, gathering information with their eyes and ears that they
can utilize at any moment. Trio work teaches this in a way that is both
informative and motivating, because you have more partners and possibilities
to play with but not so many that it gets overwhelming. Trio explorations
feed into all clown work whether solo, duo or ensemble, and inspires play
that can be used in any venue, from a theater to a circus ring, a hospital room
to a refugee camp.
This section expanded on the solo and duo work, widening the scope of
the clowns’ relationships not just to others but to themselves, teaching them
more about their individual strengths and weaknesses which are brought
into higher relief when working in a group that is more provocative; there is
the possibility for greater disruption in a trio and thus greater comic play.
The discoveries of the trios will be developed in the next section as the
players expand their powers of observation and listening to take in more
people, finding moments to express themselves from within a large ensemble,
while supporting others’ solo, duo and trio moments.
Figure 9.1 Clown ensembles: (left-to-right) Amica Hunter, Carasue
McClendon, Sophia Knox-Miller, Kate Brehm, Sydney Schwindt, Christian
Schneider, Windy Wynazz, Barbara Gonzalez, Tommy Toxic, Devin
Shacket, Andrew Pulkrabek, Rebecca Hammond, Paul Philion, Ariel
Speedwagon, Katrina Kroetch, Lars Adams, and David Cantor. Photo credit:
Eric Gillet/Shoot That Klown.
180
9
Clown Ensembles
Fractious Fun
While working with Los Payasos Mendigos, I discovered the comic power of
choral movement (even silly choral movement). Whether it was running
around the stage in improvised patterns while slapping our thighs, doing a
group hand jive that ended in a clapping, slapping salute to the heavens while
shouting in unison, “Believe it!” or performing percussive patterns with sticks,
this unified movement visually established that this was an ensemble, that these
guys were in tune with one another, working together with tight synchronicity.
We then proceeded to dismantle that assumption through slapstick, status play,
making fun of machismo, and grown men behaving like children.
I use this friction in my teaching, this tension between everyone getting
along in wonderful harmony, versus the disruptions caused by factions,
Figure 9.2 Los Payasos Mendigos (the beggar clowns): Joe Dieffenbacher
(Yahoo), Rudi Galindo (Lupita), Cosmo Kuzmick (El Excremente), and Dave
Ferney (Guapo). Photo credit: Matilda Dieffenbacher.
181
cliques, and individuals wanting to be seen and applauded on their own.

Anyone who has worked in a group situation has experienced this:
individuals must cooperate and work as a team, all the while wanting their
own voices to be heard. There is the feeling—sometimes subtle, other times
overt—that it all could blow up at any moment, and with so many people
potentially at odds, there will be a bigger mess to clean up. Rather than create
anxiety, the clown’s playful mind embraces this tension and sees it as an
opportunity: they know that these discrepancies can create a varied and
headier mix based on the true dynamics of a group.
When we look at clown groups at odds with one another we wonder why
they stick together. The strange, awkward juxtapositions of energy and
emotion, and the physical differences between the players, would make us
think they ought to find more compatible companions. But it’s the very
tension this question creates in the audience’s mind that intrigues them and
they take delight in watching how the group negotiates the various
arguments, alliances, and affections, wondering when it will descend into
competition, conflict, and slapstick. Then they consider how and if the
clowns will reunite, find group harmony and playfulness once more.
Ensembles also create the kind of variety that everyone can engage with:
an audience member may love the brainy clown but not the acrobatic one,
they find the pun-telling clown humorous but the one who keeps entering at
the wrong moments, hilarious. The mosaic of personalities, faces, costumes,
movements and the possibilities of physical play is so much richer in a large
ensemble and will always pique the crowd’s curiosity.
The games and exercises in this section encourage stronger ensemble
play, offer ensemble movement ideas, help groups generate comic moments,
explore how individuals influence the group energy, how the players can
work as a chorus to support each other’s solo, duo and trio moments, and
promote the acceptance of accident and absurdity in ensemble play.
ALL TOGETHER NOW

These variations go from simply standing up together to vigorously
chasing one another. They’re good to use as an ensemble warm up,
team building, and exploring how to work together to find balance
and group stability in physical ways.
Clown Ensembles 183
Props: A sturdy chair.
Variation 1—Stand up The players partner up. They sit on the floor back-
to-back, knees bent, their arms reaching back behind them to link together
with their partner’s, crossed at the elbows. Using their feet, they push against
each other’s backs and stand. Now they try with three people back to back
(or shoulder to shoulder), their arms linked as above. This continues until
the whole class links arms and all stand together.
Variation 2—Chair chain One player sits on the edge of a chair; another
sits on his knees. The player on the chair grabs the second player’s waist.
Another player sits on the second player’s knees; the second player grabs his
waist. This pattern continues until all are seated on each other’s knees. The
players lean forward slightly to keep the line from tipping backwards (the
adviser can remove the chair or leave it in place), they count together and, on
three, stand up by leaning forward still holding each other’s waists. Then, on
the count of three, all sit back onto each other’s knees. Repeat a few times
until the group can do it cleanly.
Variation 3—Circle up Sitting in the line, the players chant together, “Left,
right, left, right” . . . leaning side-to-side, lifting their feet in time. When
they’re in sync, the player at the front walks the group into a circle so she can
bring her knees under the butt of the last player (as they come around, the
chair is removed). Once the first player’s knees are supporting the last player,
they all let go of each other’s waists; the circle is self-supporting. Once in the
circle, the adviser counts off: on three, the group all stand at the same time.
The adviser counts to three again, the players all sit on each other’s knees.
If walking into the circle proves too difficult, have the group start by
standing in a circle all facing the same direction, grab the waist of the person
in front of them, then, on the count of three, slowly sit back on the knees of
the person behind them. Then try the stand and sit again.
Note: Play with proximity—how close do you need to be to sit on each other’s
knees—and remember to lean forward and slightly inwards to keep from
tipping over.
Variation 4—Tail of the dragon This is be played with five to seven players
for each dragon. The players line up holding the waist of the person in front
of them (ties, belts, or scarves tied around waists may help the players hold
on once the dragon starts moving). The player on the end of the line has a
sock tail tucked into his back waistband. The player at the front of the line
must try to grab it by curling back along the line (the dragon is chasing its
own tail). Do those in the middle help the head or the tail? When the head
grabs the sock tail, a new head and tail are chosen, and the group starts a new
game.
● If the room is big enough (or played outdoors), a number of dragons

made up of five to seven players can play at the same time. The head of
each dragon tries to grab the sock tail of the other dragons. If they do,
that dragon sits out or those players join the remaining dragons till
there is only one left.
FOLLOW ALONG
These variations have fairly simple set ups, so they allow the players
to focus on one another more acutely to develop physical harmony
and ensemble play.
Variation 1—Floating hands The players sit close together on the floor,
or in chairs in a circle. They place their left hand over the right hand of
the person to their left (thus everyone has their left hand over a hand
and their right hand under a hand). Everyone closes their eyes. Every player
moves their right hand up, down, forward, back, in circles, etc., lifting the left
hand of the person sitting to their right side. Thus, all the right hands are
initiating the movement of all the left hands, all the left hands are relaxed
and being moved by all the right hands. The adviser lets this continue for a
period of time and then tells the players to switch: the left hands now go
under the right hands, so while the left hand initiates the movement, the
right hand is relaxed and allowing itself to be led. This exercise creates an
interesting split in the body as the players learn to relax one hand/one side
of the body and let it be led, while leading the action with the other hand/
other side of the body.
Clown Ensembles 185
Variation 2—Mirror mix The players form groups of six. They face each
other, three to a side, arm’s-length apart. One side are Mirrors, the other side
are Leaders. The Leaders begin to move, and the Mirrors imitate exactly
what’s shown by their partner directly across from them, adding nothing.
The players explore movement only; they don’t act out a scene. The adviser
reminds the Mirrors to pay attention to everything: facial expressions, the
position of the feet, the shape of the spine, how the hands are held, etc.
Once both Leaders and Mirrors are in sync, any Mirror can choose to
follow any Leader. They don’t move from where they are, they just use their
eyes to observe and follow someone else. If the Leader loses their Mirror,
they stay in the game: another Mirror may decide to follow them. If so, they
give them their attention and play with them (but stay where they are). This
continues, with the Mirrors switching Leaders as they please and the Leaders
keeping an eye out to see if they’re being followed. The adviser calls an end
to the exercise. The players switch roles and go again.
● A Leader who is not being followed, can choose to become a Mirror

and follow the person directly across from them (they follow only
their Mirror, not someone else). So, they might find themselves
mirroring a Leader next to them or at the other end of the line. This
could lead to everyone mirroring one Leader. The adviser calls an end
to the exercise. The players switch roles and go again.
Note: No discussion or verbal direction is needed: communication is with the

eyes and through movement only.
Variation 3—Mirror line Divide the class in half. The players line up in two
rows holding hands. The lines face each other about two meters apart. One
row is designated as the Mirror. The players from the other row—the
Leaders—start moving slowly, still holding hands. The Mirror row reflects all
movements of the Leader row. They focus on and copy the Leader directly
across from them all the while holding hands with each other (the Leaders
can move as they like, they don’t have to sync their movements with the
other Leaders). After an allotted time, the players switch roles.
Variation 4—Elevator Five or more players are backstage, all others

observe. The first player enters as if stepping onto an elevator. He does a
simple action: for example, putting his hands in his pockets. The adviser says
“Ding!” Another player enters the elevator and does an action; for example,
crossing her arms. The first player sees this and does the same (this can be
right away or after a few beats). The adviser says, “Ding!” Another player
enters, does a new action such as vigorously scratching themselves, or
swatting at a fly. The first two players join in at some point. This pattern
continues (the adviser cueing each entrance with “Ding!”). The elevator gets
more crowded (the floor can be marked out with tape or rope to keep the
players cramped together or surround them with flats on three sides if
they’re available), all the players doing variations on the same action.
Once all are on and doing the action of the final player to enter, anyone
can go back to the action they entered with to see if others join in. Duos,
trios or the whole group can switch between the actions introduced, but they
don’t invent new ones. They improvise until the adviser says “Ding!” The
elevator doors open and all exit.
Advice
● “When a new action is introduced, you don’t have to take it on right
away. Let the new arrival act it out, establish it, you react to it, then find
the best moment to join in to increase the comic play, as well as build
up tension and anticipation. You can also choose to imitate the action
as soon as you see it. In other words, play with the timing.”
FOLLOW ME
These are good games for partner work and can be incorporated into
a staged routine. The Follower (the Fool), learns to focus on the Boss
to such a degree that he can appear hypnotized. The Boss enjoys her
power but should keep her wits about her: the Fool can take over
and hypnotize the Boss!
Room prep: If chairs, strong wood boxes, mattresses and gym mats are
available, spread them around the space to create levels to play with.
Variation 1—Follow the hand The players partner up. One partner is the
Follower, the other is the Leader. The Leader holds his open palm about
Clown Ensembles 187
twenty centimeters from the Follower’s face. They maintain this distance the
entire time as the Leader begins to move his hand up and down, side to side
and all around. The Follower locks her eyes on the hand and never looks at
anything else. The Leaders get the Followers to stop and start, run, jump,
speed up, slow down, lie down, go up on a table, sit in a chair, etc., all by how
they move their hand. They should enjoy their power but not abuse it: take
care of the Follower and don’t create any distrust; they’ll be leading next.
At any point, the Leader can pull his hand away. The Follower snaps out of
being mesmerized by the hand and is free. But as soon as the Leader brings his
hand up again, the Follower locks her gaze on it and the game continues. The
Leader can make a game of this by playing with the duration: release the
Follower for five seconds, let them think they’re free, then snap the hand back
in front of their face, grabbing their attention again. Or pull away and snap it
right back. After an allotted time, the adviser tells the players to switch roles.
Variation 2—Switch Same as above, but when the Leader pulls hand away,
the Follower can choose to bring her hand up and take over, becoming the
new Leader. This switching continues, each player making a game out of
who will grab the other’s attention and become the Leader. They can make
the switches quickly or tease one another as to who will take over first (or
one can refuse to take over—they love being the Follower).
Variation 3—One leader two hands Same as above, but the players form
groups of three. The Leader holds both hands up and has a Follower on each
hand. They play the game of pulling the hand away and any member of the
trio taking over as in Variation 2.
Variation 4—One leader, hands and feet Same as above but the players
form groups of five. The Leader lies on his back and holds up his hands and
feet with a Follower for each one. They keep their faces about twenty
centimeters away from the hands or feet of Leader as he moves them. He can
move how he likes but must keep the palms and the soles of his feet exposed
so the Followers can follow (avoid standing or placing hands down on floor).
The Leader should take care not to move too abruptly and the Followers
should keep a safe distance from the hand or foot to avoid being hit if the
Leader makes an abrupt movement.
Variation 5—Random parts Five players form a circle. One player steps
into the middle and becomes the Leader. Those around them choose a part
of the Leader’s body they will follow—wrist, chin, feet, chest, right knee, etc.
The Leader begins to move. One player from the circle moves closer and
begins to follow the body part she’s chosen. Others come forward and do the
same (the distance between the Leader and others will vary; they do not all
have to be the same distance away and can change as they play).
The Leader can move everything in the same direction, for example,
turning clockwise while moving his body up or down, or he can move in a
random way so the chest might move left while the chin moves right and the
arms flap up and down, with the players following their chosen body part.
They play for an allotted time, then switch who is the Leader.
Variation 6—Leader, follower, leader, follower This can be done in

groups of five to seven or the entire class. One player steps forward to follow
a body part of the Leader, a second player steps forward and follows a body
part on the first player. A third player follows a part of second player’s body
and so on. The players must stay aware of those around them and avoid
sudden movements all the while keeping their eyes locked on the body part
they’re following; this exercise will improve their kinesthetic awareness. The
group plays for an allotted time, then starts again with a new Leader.
Note: These games of following can be used in any group scene and are easy
ways to begin the creation of ensemble movement. They can be used to show
status or as a way to grab another’s attention; in a scene, a rule is agreed that
any time a player raises their index finger, all the others must lock eyes on it
and follow its movement.
SUPPORT STAFF
This exercise connects the group physically as they lift, carry, and
support a single player. The ensemble is focused on one person but
must also stay aware of how others are moving in the room. It’s great
for developing physical trust and getting players to give their complete
attention to their partners, supporting their needs and requests.
Props: Music is optional. If you use it, find pieces that aren’t dominating; it’s
there for ambience and inspiration.
Clown Ensembles 189
Room prep: Gym mats are good to use if available, covering as much floor
space as possible. Ensure there is nothing in the room that might be a
potential hazard. Keep the Leader away from raised levels, hard edges,
corners, etc.
Physical prep: Do a good physical warm up, paying close attention to backs,
legs and shoulders. The players will be lifting and supporting each other so
have them take each other’s weight as part of the warm-up. They should be
reminded to lift with their knees not their back. All players should
acknowledge their limits and shouldn’t try to do things they’re not strong
enough to do.
Variation 1—Supported One player is the Newbie, five or more are the
Support Staff. The Newbie makes offers; the Support Staff respond. For
example, she offers her foot by lifting it. A member of the Support Staff takes
her foot in hand, or someone goes down on all fours so the Newbie can place
her foot on their back. The Newbie offers another hand, someone takes it.
Another supports her arm so she can stand on the backs of the Support Staff
members down on all fours. The Support Staff can lift the Newbie up and
carry her around the room. Or they let her move as she likes until she signals
for support. She can make eye contact with a Staff member and jump into
their arms, climb on their back, embrace them. She can allow herself to be
dragged, spun, pulled, pushed, etc.
The Newbie is the leader: she calls for support in the form of a physical
offer. If she communicates that she wants to be put down or allowed to run
unhindered, the Support Staff give her room, always ready to help if she
signals for support.
Advice
● “When offering help try not to tense up; move in a focused and
relaxed way.”
● “If you’re supporting, stand in a wide, low stance like you’re sitting on
a horse, ready to move in any direction.”
● “Lift and support with the legs, not the back.”
● “As you focus on the one needing support, stay aware of everything
around you: other players, objects in the room, what’s on the floor,
changes in levels, etc. Train yourself to observe the space and register
how it may be useful in the play or hinder it and be avoided.”
● “The Support Staff must be attentive to suggestions made by the

Newbie. Offer support, then wait to see how they accept or reject it.”
● “Know your limitations: if you have a bad back, don’t try to lift the
Newbie on your own. Bring in others or transfer the Newbie’s offer to
someone else.”
● “The Newbie should take risks but not be irresponsible. Make it
known what you want from the Support Staff but without words:
communicate through how you use your body, your gestures, your
eyes. Sounds are allowed but the focus should be on physical
communication.”
Variation 2—Faint
Physical prep: The players should practice faints first: let the faint be a
slow, spiraling move so they go gently to their knees then roll out along
their thigh to their hip and lay out on their side, using their hands to lower
the torso to the floor. Avoid dropping straight to the knees. The players
should practice these controlled faints in case no one gets there in time to
catch them.
The players count off. They walk randomly but keep close to one another,
about arm’s-length apart. The adviser calls a number. That player faints: it
should be telegraphed—an obvious physical wind up before the faint, a loud
sigh before dropping—to give others time to find and catch him before he
falls to the ground. He’s lifted to his feet, quickly recovers. The players walk
until a new number is called. The adviser can choose to call out more than
one number.
Note: For both variations, the players shouldn’t wear clothing that’s loose as it
may get tangled in a hand or stuck under foot.
Advice
● “Use all parts of your body to catch the player who is fainting: catch
with your back, the soles of your feet, lock arms with another player
and catch in this cradle, use your chest, etc.”
● “If you’re fainting and see a player setting up to catch you, adjust your
faint. For example, lift an arm to let it fall over a player’s neck, or turn
and lay the front of your body over someone’s back as they bend over.”
Clown Ensembles 191
CARETAKERS
This is one of my favorite exercises for developing ensemble play
and physical trust. I return to it often: the players find new possibilities
in this exercise the more they do it. Caretakers requires strong
concentration to really tune into your partners and pick up cues from
their movements.
Props: Blindfolds or veils (have extras as they will get sweaty), music player,
playlist of instrumental music; use compositions that are lyrical, such as
classical or jazz. Don’t use music with a strong, heavy beat: the music should
encourage large, flowing movements. Mats, mattresses, exercise balls,
blankets, and other soft objects can be scattered about the room for the
Leader to crawl over, be laid onto, be led up and over, etc. Whatever is used
always keep safety in mind.
Notes on blindfolds or veils: There are two possibilities: a veil to cover the
face, sheer enough to see through but not so transparent that the Leader’s
face is easy to see. Or a blindfold. A veil will encourage the Leader to take
more chances as she can see where she’s going. A blindfold can give the
Leader a more intense experience because she can’t see at all and must trust
both her own kinesthetic sense and the partners who are guiding her.
Room prep: Gym mats are good to use if available, covering as much floor
space as possible. Walk around the space and ensure there is nothing that
might be a potential hazard. Keep the Leader away from any areas that may
be unsafe—raised levels, hard edges, corners, etc.
Physical prep: Do a good physical warm up with a few lifts, with groups of
two or more lifting a single player (remind the players to lift with the knees
not the back). Make sure everyone acknowledges their limits; the objective is
to work as a team to support the Leader.
The Dance: Six players, all others observe. Five are the Caretakers, one
is the Leader. She wears a veil or blindfold. The Caretakers surround the
Leader, place a hand on her shoulders, and all breathe together. Music
starts, the Leader begins to move, The Caretakers pull their hands away
and step back. They give the Leader room to move while remaining close
enough to help her should she make an offer. The Leader should start
slow, get used to not having full use of her eyes. She leans into the Caretakers,
lets them take her weight, see if they will lift her. As she feels more confident,
she can move faster or make bolder offers always keeping everyone’s safety
in mind.
The offers can take many forms. For example, if the Leader leans back, the
Caretakers must be ready to take her weight. If the Leader extends her hand,
the Caretakers may take hold of it and guide her forward. The Leader may
jump into the Caretakers’ arms, climb on them, try to move away from them,
allow herself to be lifted, etc.
The Caretakers make offers by placing a hand on the Leader, pushing or
pulling her gently, lifting her, etc. But if the Leader resists or wishes to move
on her own, the Caretakers let her go and give her space.
The Caretakers maintain a circle around the Leader at all times and stay
aware of any gaps. If the Leader gets through a gap and gets ahead of the
Caretakers, she risks stumbling or walking into a wall. The Caretakers must
also keep focused on the group’s movements all the while keeping an eye on
the Leader (who is also responsible for her own safety and that of the others).
The Caretakers should keep a wide stance, ready to move in any direction
to support the Leader, while not colliding with other Caretakers. Because of
the blindfold, it’s hard to read the Leader’s intentions via her eyes, so the
group must remain attentive at all times to how she shifts her weight or
signals which direction she will move; they must constantly improvise to
protect and serve the Leader.
At the end of each session (keep them to no more than four minutes), get
feedback from both the Caretakers and the Leader. Let them share
observations, especially tips on how to take care of the Leader and the best
ways to follow them; sometimes the pelvis or feet will signal which way the
Leader will go. The head will also “look” turning towards the direction the
body will run even though the Leader cannot see with the blindfold on.
Some Leaders will actually point and then move in that direction. The
players take notes and are encouraged to use the information when it’s their
turn.
Advice
● “Caretakers, be ready for anything that the Leader offers or requests,
but don’t try to be a hero: if you can’t lift someone on your own, get
help or steer the Leader to someone else.”
Clown Ensembles 193
● “The Leader should take risks but stay aware of the Caretakers’
capabilities (don’t leap into someone’s arms if they can’t support you).
Be a smart Leader.”
EH? OH . . .
This exercise is a playful way to work with group sound and
movement and can be used to develop scenes, improvise or create
set choreography for an ensemble performance. It also works as a
group voice warm up and builds up the energy of the entire ensemble.
Variation 1—Voice contortions The players stand randomly about the

room. Each chooses a single vowel sound—A, E, I, O, or U—and begins
singing/chanting it. They change their relationship to the floor: stand on one
leg, go into a plank position, do a headstand, curl into a ball, lie on their
stomach, their back, twist their bodies to one side, etc. With each change,
they choose another vowel. The explore both volume, pitch, duration, and
execution: how much effort is required to project their voice with the body
in unusual positions?
Advice
● “Don’t force the voice. Feel your way into what’s possible in different
positions. Take note of how you inhale and exhale when your body is
curled up or holding its weight on hands and knees, balanced on one
leg, bent over at the waist, etc.”
● “Get into as many eccentric poses as possible and see how that affects
the sounds you’re making. Don’t worry if the sounds get weird or ugly:
as long as there is no strain on the voice, welcome all sounds!”
● “Use conscious breathing to strengthen your sounds, their volume,
force, and pitch.”
● “Borrow from others if you see someone doing a pose and sound you
like.”
Variation 2—Duo warm up The players partner up and stand about five
meters apart. Player A chooses a single vowel sound, A, E, I, O, or U,
and begins singing/chanting it, matching the volume to the distance

between him and his partner, with closer being soft and further away
being loud. Player B toys with the distance between them—moving closer,
moving away—while A raises or lowers his volume accordingly. After a
minute of play, switch roles with B using their voice and A playing with the
distance.
Now reverse it: when player B gets closer, player A gets louder, then softer
as B moves away.
Advice
● “Don’t push the voice too hard nor create tension in the throat. Keep
the whole body as relaxed as possible.”
● “Treat it as a game, enjoying the tease and how it changes the sound, as
you play with the distance and the response.”
Variation 3—The stranger and the locals One player is chosen as the
Stranger. She stands at one end of the room. The rest of the class are the
Locals; they stand at the other end of the room, scattered apart (a meter or
so between each other). The Locals check out the Stranger from a distance,
repeating softly and in unison, “Oh . . . oh . . . oh?” They’re curious about the
Stranger as well as cautious, and this is reflected in how they repeat “Oh.” The
Stranger starts to move towards the Locals. As she does, the group moves
closer together and repeats “Oh” a little louder as a suspicious tone creeps
into the way the word is voiced. At some point it turns into “Eh? . . . eh . . .
EH!?” (sounds like the “ay” in play). The tone has gone from curious and
cautious to suspicious, fearful, and aggressively challenging. The closer the
Stranger gets to the Locals, the louder they cry “EH?!” (as if saying, “Back up!
Don’t come so close!” etc.).
For both “Oh” and “Eh?!” the Locals can all say the word in unison, as
well as individuals and smaller groups within the ensemble voicing the
word with different attitudes, pitches and volumes. The game is about
how the Stranger changes the sound, attitude and movement of the
Locals by her distance from them. The Locals should play with changing
their body shape (as in Variation 1), and with up-and-down movements,
rising up high or cowering, like meerkats, as the Stranger toys with the
distance. The Stranger should consider her reaction: is she enjoying this
tease and her power over the group? Is she angry or sad that the Locals
Clown Ensembles 195
are responding this way? They play for a minute then a new Stranger is
chosen.
ADD ON
In these variations, the players memorize the movements of others,
adding to them to create a chorus of eccentric movements. These
can be used to generate material for an ensemble scene or to tell an
existing story through physical play and movement.
Variation 1—Circle add Groups of five to seven. Each group stands in a

circle, arm’s-length apart. The starting player does a single action. For
example, he inhales. The next player repeats it and adds to it. For example,
she inhales and starts to laugh. The next player might inhale, laugh, and go
down on his knees. Continue around the circle, each player repeating what’s
gone before and adding an action to the sequence. The players can talk to
help each other remember, then work towards remembering and adding
moves without talking. The adviser can assign the number of passes around
the circle with the players adding something each time their turn comes
around, then stopping after they reach the assigned number, or let them keep
going, building up as many actions as the group can remember until they
find it impossible to go on. They then stop and start a new round.
Variation 2—Circle add chorus Groups of five. Each group stands in a

circle, arm’s-length apart. The first player does a single action. She looks at
the player to her right and together they repeat her action. The second player
adds to this, looking at the player to his right. The first three players repeat
all three movements. This pattern continues around the circle once until
everyone repeats the group moves. The group repeats the sequence four
times, a little faster with each round. Repeat with a different player starting.
Variation 3—Circle add scene Same as Variation 1, but the players treat
each movement as a line in a story. For example, the first player raises his
hand. The second player raises her hand then mimes hailing a taxi. The third
player repeats the first two moves then mimes getting hit by the taxi, etc. The
last person must do all the moves to tell the story and add her move to end
the scene. The players can talk to help each other remember.
RUN, STOP, RELAX

The players explore the dramatic and comic possibilities of going
from extreme activity to complete relaxation, playing with the
tension generated by the activity (in both the players and audience),
and the release into stillness and nonchalance.
Props: Drum and drumstick.
Variation 1—RUN! Five players wait backstage. They decide on a signal—it

can be obvious or subtle—anything from laying a hand on the cheek, crossing
the arms, stomping a foot, making a flapping fart sound with the lips, etc.
This signal cues the group to start running about. The adviser cues the group
to enter. One player signals the others and they enter with a manic burst of
energy. They run madly around, arms flailing, legs kicking, shouting, yelling,
clapping their hands, exiting and reentering, acting like a bunch of noisy,
raving lunatics!
They continue this until one or more players stops moving. This can be
abrupt or gradual, but when the players see it happening—the energy of the
group stopping or slowing down—they gather close together facing the
audience, all coming to a complete stop. The players go from crazed
movement to face and body relaxed, the group just chilling, as if they haven’t
been doing anything out of the ordinary. They exchange glances, smile, look
worried, annoyed or unhappy—whatever they feel in the moment. They
continue this quiet exchange of looks until someone in the group signals.
When this happens, they can pause a few seconds before running amok
again, or all immediately take off running madly around the stage and
continue until one or more players comes to an abrupt stop or a slow down
to a stop. They gather close together center stage facing the audience, looking
nonchalant.
The time between the mad running and the signal to start again can be a
few seconds or a half minute. The group plays with each other and the
audience; they know that at some point, the players are going to go physically
Clown Ensembles 197
crazy. They can choose when to make an exit and end the scene, or the
adviser cues them to go.
Variation 2—Drum The players still signal but also, at any point, the adviser
can hit a drum to cue the run.
Variation 3—Tease The players still signal, the adviser can hit a drum, but
he can also tease them by saying, “You know you want to run but you can’t. I
can see that you really want to run. But you can’t. Until I hit this drum . . . .”
The players can wait and take the cue from the adviser, or interrupt him, cue
the group themselves by their agreed signal and run.
Advice
● “Be mad with anticipation! It agitates your bodies with small
movements, an impatient look in your eyes, etc. You want to run but
you have to wait for the signal.”
● “Center this powerful desire to run in your belly, let it radiate outwards,
build it internally until the audience is also agitated, nearly screaming
for you to RUN!”
Variation 4—Smile This can be added to any of the variations above. When
the group stops, they form a line shoulder-to-shoulder, facing the audience.
Slowly they all smile with big wide grins, absolutely delighted with themselves
and the fun they’ve had as they stand still, at ease. It’s a playful, mischievous
grin. This is usually a good one to throw in just before the players exit.
Advice
● “Explore the contrast between extreme physicality and neutrality, the
manic running about with the quietly playful grin.”
● “The bigger, more frenzied the run, the more interesting or funny is the
stop. The stop after the manic movement allows the audience to study
the effect of all that action: it leaves traces of energy, animating the
body in subtle ways. How do you control—and play with—that energy
as the audience studies you as you stand still?”
● “As you wait for the signal, how does your body express anticipation,
the powerful desire to run in a way that agitates you to such a degree
that it affects the audience? Build up the energy from within (it doesn’t
need to be physically obvious) so it can explode into movement when

the signal comes.”
REVEALING
These variations explore ensemble play within a simple set up,
combining group movement with solo introductions. The group acts
as a chorus, with the ensemble following one player’s lead. The
variations are good for improvising group play and developing this
into set routines, and a good framework for creating group
improvisation when performing outdoors or in large spaces.
Variation 1—Reveal the lead Groups of seven or more wait backstage.

They count off. The group enters in a clump, murmuring, mumbling,
commenting, as they look out at the audience (see Note and Advice below).
Number 1 whispers to the group how he would like to be revealed and then
hidden again. For example, “Everyone run away from me/Everyone step
back and style to me/We all run then I stop, and group keeps going/I step out
of the group/Someone pushes me out of the group” . . . etc. When he’s
revealed, he has a moment with the audience. For example, he takes a quick
bow, makes a face, does a trick, gestures, does a little dance, etc. Then he goes
back to the group, or the group gathers around him. As the group begins to
move again, always in a tight clump, number 2 tells the group how she would
like to be revealed. This continues in numbered order till everyone has their
moment, then they all exit in a clump.
Note: The ensemble is both gleeful and timid, excited to be coming onstage to
play with the public but nervous as to how they’ll respond. For the one who
steps out, they can play the moment however they like: showing off for the
audience and their companions in the group, or they could grow nervous after
stepping out and quickly rush back to the safety of the ensemble all massed
together. They might offer a trick or tell a joke, expose their belly or show off
their shoes. It’s a tease and a test to see how the audience will respond to the
individual and how the ensemble supports the solo moment.
Clown Ensembles 199
Variation 2—Take the lead Seven players wait backstage. They count off.
The group enter as above, massed together, but they are following the lead
of #1, mirroring and shadowing her, until she makes a signal for them to
stop and watch her. She steps away from group, does something solo, they
respond (applaud, imitate her, join in her sing-along, follow her dance steps,
etc.). She steps back into the group and focuses her attention on #2 (or he
signals he’s taking over), and all follow #2 until he steps out, has a solo turn,
then passes the lead to #3. This pattern continues with each player getting a
chance to lead the group around the space however they like, then having a
solo moment.
● All members of the group have a prop and, when they’re revealed,
perform a short trick or task with it. The group reacts however they
like—applaud, boo, act confused, frightened, etc.—then surround the
player, or the player steps back into the group and passes the lead onto
the next person in the count.
Advice
● “Work as a pack. Go with the choice of the person being revealed and
do it with playfulness and gusto.”
● “Imagine yourselves as a group of mischievous misfits vying for the
audience’s attention as a group, as well as individually in your solo
moment.”
● “Be playfully conspiratorial in your relationship with each other and
with the audience.”
MISFITS AND MASTER

This exercise is closer to bouffon play than clown, but it’s useful
for exploring a more extreme expression of hierarchy and the
relationship between Master, and everyone below her. Working
together, the players use the group energy to tease, tempt, insult,
intimidate, create intrigue and play with both the Master and the
audience.
Props: Stage flats or curtains for entrances and exits, chair, foam bat (pool
noodle or thick-walled pipe insulation about seventy centimeters long),
ragged clothes that makes the players look a bit worse for wear.
Six players wait backstage. One is chosen as the Master. The adviser informs
the others that they are “Misfits, you don’t belong. You’ve come here today to
challenge the Master. But beware, she may punish you mercilessly if you go
too far.” The adviser sets a chair downstage left. The Master enters with the
foam bat and sits in the chair.
After a few beats, the Misfits enter in a clump, eyes switching between the
Master and the audience. There is a visible tension and fear in the group, as
well as a feeling that it’s time to challenge all relationships, to test the status
quo. The clump moves closer to the Master: her reaction will determine how
close the Misfits can get. One person steps forward, the others watch intensely,
both eager and shocked by his audacity, secretly hoping he will do something
surprising. The Misfit who has stepped out is a bit scared, also a bit confused
(Misfits aren’t too bright). He has decided to tease, taunt, insult or even threaten
the Master. Misfits in the clump explore the struggle between their confusion,
fear, and simple-mindedness, with their attempts to challenge the Master.
For example, a player might say to the Master, “I’m gonna pinch you.
Hard. On all your body parts.” Others in the group might encourage him to
show them where he will pinch the Master (he starts pinching himself trying
to find the place that will cause the most pain, hurting himself in the process),
or other Misfits might step forward, pinch him, and start to enjoy this game
of hurting the one who stepped out. The Misfits find the play between what
sounds like a real threat or a nasty insult but this is tempered by the sad state
of the group and their sorry attempts to be intimidating. Hovering over all
these emotions is the real threat of retaliation.
With each attempt, the rest of the group are shocked by the actions of the
one who is bold enough to step out, as well as being curious about the
Master’s reaction. Each Misfit toys with the Master until they have all had a
go. They should work to make each taunt more challenging, more outlandish,
more ludicrous.
The Master can sit calmly watching their actions, perhaps even amused.
Or she can openly threaten or even hit any Misfit who dares to step out, with
the foam bat. The players’ job is to toy with the power play and the tension
this creates between the Master, the Misfits, and the audience, to draw
everyone into the play, as well as to manipulate who the crowd sympathizes
with, and whose actions they most enjoy.
Clown Ensembles 201
By the time the last player steps out, the taunt should be ludicrously
nasty, pushing the Master and the Misfits to the limit of how they will
react. The group improvises an exit as a clump: the Misfits run off defiant,
terrified, chased off by the Master, or the Master runs off chased by the
Misfits.
Note: The adviser can have the players improvise in front of class or let them
work in groups to develop what each one will say—and the possible group
reactions—as well as explore the play between them. After a short exploration
and rehearsal, they play a rough sketch for the class.
Advice
● “Build the intensity of the play and the scene. Use this build to stay in
the moment, not think too much about what you’ll say or how you’ll
react.”
● “The chorus’s reaction is crucial to building up the intensity of the
scene.”
● “Misfits must continually monitor the reactions of Master and
audience and play off them. What can you get away with, what will you
be punished for saying or doing, what wins the crowd’s sympathy,
causes them delight?”
● “Enter into the heady mixture of confusion, simple mindedness and
fear, contrasted with the desire to tease, intimidate and provoke. Let us
see the struggle enliven you, encourage you to take risks, challenge the
audience, despite your status as a misfit.”
CHIPS AND STICK

Another exercise that explores status relationships on a more
visceral and physical level.
Props: Stage flats or curtains, chair, a plastic or metal bowl with crackers or
chips (Pringles work well), a small table or another chair to put the bowl on,
objects to hide behind (mats, furniture, blankets, etc), foam bat (Master’s
stick).
Six players—five Misfits and one Master—wait backstage. The Master enters
with a bowl of chips, sets it on the table, sits in the chair, and starts to
nibble. By his chair rests his stick. The Misfits enter in a clump. They fear the
Master and his stick, but they’re desperately hungry; they all want a chip. The
Master does not see them at first. They make fun of him, play games behind
his back etc. The Master gives them something to make fun of by eating,
standing, stretching, etc., in eccentric ways. At some point he picks up the
stick either casually or to threaten the Misfits. They dash to various hiding
places then regroup. The game continues with the Misfits trying to get a chip
by daring to ask for one, sneaking out and stealing one, begging the Master
for one, “Please give me just a lick, a smell—just let me touch it!” The Master
provokes them, scares them, teases them: he knows they’re starved and
enjoys toying with them, and the fact that he can abuse them any time he
wants. If a Misfit gets caught trying to steal a chip or is beaten by the Master
for any reason, the others rush out to lead her away apologizing profusely for
the indiscretion as they scuttle off to hide (all the while insulting the Master
under their breath). Or they can cheer the beating hoping to win the Master’s
favor. The players improvise an ending or the adviser signals them to end the
scene and exit.
Advice
● “Explore the conflict between the fear of the Master and the stick, and
your starvation, the intense desire for food.”
● “Enjoy making fun of the Master but don’t forget who has the power
and how much you fear getting beaten.”
● “As the Master, your job is to intimidate the Misfits as much as possible,
play the imperious, pompous ruler so they have something to play off
of. Openly display your power in order to provoke a response from the
Misfits. The Master can also allow things to happen—a chip to be
stolen, not noticing Misfits ridicule him, etc.—to add variety to the
play.”
● “As the Misfits, how do you use the Master’s role and their abuse
to win sympathy from the audience? They are your allies, not the
Master’s.”
● “For all players, the scene is a feisty game between the Master and the
Misfits. The stakes are high: physical abuse, starvation, anarchy, or
worse . . .”
Clown Ensembles 203
THE RIDICULOUS ENSEMBLE

In this exercise, the players perform improvised scenes from simple,
absurd or abstract suggestions. It’s good for getting them to loosen
up and improvise using nonsensical scenarios. These could be
developed into full routines, or act as a sudden illogical break within
a more straightforward scene.
Five players wait backstage. They enter in a clump, eager to please. They nod
and pat each other on the back, full of humble self-confidence as the adviser
praises their acting ability: “We’re so excited that you’re here today! We feel
honored to welcome such an amazing group of thespians, known all over the
world for their ability to act out any scene. So today we’d like to see, how do
you pluck a chicken?” The group begins to act out plucking a chicken. They
don’t discuss it or spend time thinking about it: as soon as the question is
asked, they begin the scene. This is a game of complicity, with the group
finding the answer in the moment, seeing what develops as they use
movement and gestures to play the scene. The players can vocalize but keep
intelligible words to a minimum. The group stops when they’re satisfied
they’ve acted out an answer—or the adviser stops them—they acknowledge
the applause, and the adviser suggests another scene or an addition: after
plucking the chicken they act out gutting it.
Suggestions for scenes: How do you tame a lion? How do you train a
monkey to sing? How do you train a fish to stand up? What is religion? What
is chaos? What is war? What is death? What are politics? What is democracy?
How do you eat a live octopus? What is Paradise? Show me the Warriors of
Stupidville. Show me the High Priestesses of Vanity. Show me the Grotesques.
Show me the Deeply Irritated Housewives.
Advice
● “Accuracy is not as important as revealing the delight of playing
together in order to answer the question through movement, mime
play and sound.”
● “Keep a close eye on each other to see what your partners come up
with. Work as a group to come up with answers on how to play the
scene.”
● “Let it be accurate as well as absurd, sensible as well as irrational. Turn
the scene into a guessing game.”
● “Keep a healthy sense of bafflement throughout, as in, What is the
answer? Is this the answer? Yes, this is the answer! Is it really the answer?”
Summary
There is a saying, “like herding cats,” which well describes working with a
large number of clowns. Because clowning is a style that encourages
individual expression and play, it can be hard to keep a clown troupe focused
on a shared outcome; there will always be friction. This is one reason why
this section includes ensemble movement: the cooperation and trust
required when supporting and lifting one another physically, as well as
paying close attention to the group to know when, how, and where to move,
immediately creates complicity; the players are forced to focus on each
other’s needs. This creates a collaborative spirit even when the players
compete or engage in status play.
We also looked at ways to allow individuals, duos and trios to step away
from the group and have moments of play, while the chorus of clowns
supported them, and how a group of clowns deals with a Boss or Master
who, though alone, has the power to control the entire group. We ended with
ensemble improvisations which encouraged the players to think together in
the moment to create comic play. These exercises feed into the next section
on devising material: all the exercises that follow involve ensemble
improvisation and exploration as the players find ways to turn relationships
into stories, a game into a planned performance.
Figure 10.1 Kate Brehm: The rules, the script, the game, the play. Photo
credit: Eric Gillet/Shoot That Klown.
206
10
The Rules, the Script, the
Game, the Play
Welcome to the Playroom

When I first started teaching clown I wondered what style of clowning I
should teach—circus, cabaret, theater, street performance? But after less
than an hour with the students I realized that style was irrelevant: what they
needed first was to relearn how to play. The group ranged from nineteen to
thirty-five years old, but they were all too caught up in looking good, acting
clever, trying to get laughs, or pretending to be children. Some weren’t truly
engaged in playing, others were too self-conscious, and quite a few were
thinking there was some secret to these exercises, and they were determined
to figure it out and get it right. So, they ended up “playing at playing.”
Figure 10.2 Clowns with drums—Joe Dieffenbacher with clown,

percussionist, and juggler Fuman. Photo credit: Toño Zarralanga.
207
After that first class, I scoured a number of books on theater exercises, but
my best finds came from books on games including a Cub Scouts book on
children’s games written in 1929. I developed variations on the games, forcing
the students to think harder and more imaginatively about tactics, strategies,
bending and breaking rules to gain an advantage for themselves and their
partners, and to find more ways of collaborating through play. A good game
demands a players’ full attention—physical, emotional, and mental. When
fully engaged, learning becomes dynamic, genuine, and insightful.
As I altered the games I had found and invented new ones, I understood
them on a deeper level: they not only unified the ensemble in energetic ways,
but they also helped them understand the development and performance of
routines, scenes, and scripted plays. I began to see that the rules of a game
were like the script of a show, and just like a game’s rules, the script could be
altered while playing (I’m speaking of devised work here). The rules were the
introduction to the game, and as we played, the rules expanded in overt and
subtle ways depending on how we used words, actions, props, costumes, scenic
elements, status relationships, physical and visual play, and audience interaction.
We agreed that anyone could bend, break or invent new rules in order to make
the game a genuine experience of play and collaboration. The same was true of
a devised act or scene: knowing that the script could be challenged, reimagined,
and toyed with as we worked with it, kept everyone involved on their toes. They
were eager to be part of the evolution, the construction—and deconstruction—
of the play, to use it as a way to expand and deepen the connection amongst the
players, and between the players and their audience.
This section takes some well-known children’s games and uses the variations
to create more complexity, inspire more inventive tactics, and get the players
to use both the director’s mind and the clown’s to develop scenes that foster
more dynamic play. This section also introduces one of the best games I know
for understanding and experiencing how to utterly fail and be the fool.
THE EVOLUTION OF A GAME

This exercise is based on the well-known children’s game Statues or
Grandmother’s Footsteps (I know it as Green Light, Red Light). The
variations add obstacles: they make the game more complex in
order to encourage more inventive and imaginative play and require
The Rules, the Script, the Game, the Play 209
the players to work together to achieve a shared objective (in Variation

1, it’s every clown for themselves). Adding new rules and inventing
complications helps turn the game into a scene and generates
relationships between the players as they demand that they explore
both solo and group strategies for “winning.”
Props: Tape or rope to mark a line. Sheets of newspaper rolled and taped to
make a soft, prop “knife,” a large overcoat.
Variation 1—Green light . . . red light The adviser marks a starting line with
rope. One player is chosen as the Leader. She stands at the other end of the
room from the starting line with her back to the group. Everyone else gathers
behind the starting line. The Leader turns away from group and says “Green
light.” This is the cue for the players to move towards the Leader until she calls
out “Red light!” and turns. She can say the words quickly, slowly, or pause
between the words but she must separate word and action: finish saying, “Red
light!” before turning. The players must go still before the Leader turns. If she
sees any player moving, she sends them back to the starting line. The game
continues until a player tags the Leader. She then becomes the new Leader.
Variation 2—Freeze Same as above, but when a player gets caught moving
for the third time (or twice or once), he must freeze in place until someone
tags the Leader.
Variation 3—Yer dead Same as above but when a player gets caught
moving, the Leader says “You!” the player says “Me?!” The Leader replies
“Die!” The player acts out a melodramatic death complete with vocals. If the
Leader catches more than one person, they move through the exchange
quickly—“You!” “Me!?” “Die!” “You!” “Me!?” “Die!”—creating multiple death
scenes acted out at the same time. She turns away and the game continues
until someone tags the Leader.
Note: When the Leader points at a player and says “You!” they reply and die;
there’s no discussion or debate.
Variation 4—The knife, the peasants, and the leader Same as Variation
1, but the players are all Peasants and one of them has a rolled-up newspaper
knife to stab their cruel Leader. One player holds the knife behind their back.
If any Peasant is caught moving, they’re sent back. If they have the knife, they
can hand it off but must do so without the Leader seeing the knife. The Leader
has three chances to guess who has it. The Peasants work as a group to keep
the Leader from guessing correctly by keeping the knife and the hand-offs
hidden. Or faking hand-offs to get the Leader to guess wrong. If the Leader
fails to guess on the third try, the Peasants surround her, pull her into the
group, and replace her with the knife holder; he becomes the new Leader and
the game begins again. The objective is for the group to work together to get
someone close enough to stab the Leader with the newspaper knife.
Variation 5—Whisper The Group whispers the name of the Leader as a

chant, or the players do it randomly as they move towards him with the knife.
Note: Any of the variations—Freeze, Yer Dead, Whisper—can be added to

Variation 4 to increase the drama and the need for advanced tactics.
Variation 6—Overcoat Same as Variation 4, but with a large overcoat

placed two meters from the Leader, between her and the Peasants. A Peasant
must get the coat, put it on, and touch the Leader before she sees them move.
Only the Peasant with the overcoat can tag the Leader. If a Peasant has the
overcoat in hand or gets it on and the Ruler sees him move, he puts the coat
down where he stands and goes back to the start. Or create the rule that he
must take the coat back to the starting line: the players work together to
hand off or throw it forward to a player close to the Leader.
● A player cannot put on the overcoat himself; one or more of the other
players must pick it up and hold it so he can slip his arms into it.
Variation 7—Combinations Combine variations: the player with the

overcoat must also get the knife to stab the Leader; the players freeze or die
if they get caught; the players whisper the Leader’s name as they advance.
Each variation (obstacle) develops new layers in the scene, forcing the
players to come up with more involved tactics, increasing their interaction,
ensemble play, and group strategizing. Combinations of rules or obstacles could
also be used when playing an exercise like Chips & Stick (pgs. 201–202), where
the rule of the Master turning to look forces all the Misfits to freeze and stay
that way until he turns away. Another option is to create an environment, where
the players/Peasants must move as if walking on slippery ice, through mud,
over hot coals, etc., as they make their way to the Leader.
Advice
● “The props, actions, obstacles, and complications are added to encourage
you to find more inventive tactics and develop layers of comic and
dramatic play. Don’t let them frustrate you, let them inspire you.”
● “How do the different variations change the dynamic of the play,
its pace, and the tension within the group? How can you use these
dynamics in a devised scene?”
● “Any number of things can be added before being able to kill the
Leader, to the point of absurdity. For example, the players must pour a
cup of water and give it to the player with the knife who must have the
cup in hand when he stabs the Leader. Can you find both the dramatic
and the comic play in what is added to make the objectives of a scene
harder to achieve?”
● “There is the game and there is making a scene out of the game. Do
you see the possibilities of transforming a game into an effective scene?
Could you use variations of games from the early chapters of this book
such as Birds & Bees, Chase Me, Tag Me, Races, Chair Games, or In and
Out (entrances and exits) and create scenes out of the games?”
TAIL, TAG, SCENE

I’ve had actors play this game underneath different scenarios and it
always enlivens the scene and keeps the players on their toes. It
shows the potential for using even the simplest game to bring a new
level of play to any scene, even dramatic ones. For clown routines, it
heightens the level of play and group interaction, and can lead to
some highly creative tactics and physical interaction.
Props: Stage flats or curtains for entrances and exits, socks or handkerchiefs.
A music player and a playlist with different styles of music.
Variation 1—Dance snatch Each player has one of their socks tucked in
their back waistband with two-thirds of the sock protruding like a tail (this
could also be played with handkerchiefs). The scene is a dance club, the
atmosphere of the club is determined by the music that’s played. Seven or
more players enter (one at a time, as couples, or in trios). They check out the
scene and begin to dance. As they’re moving about the dance floor, they try
and snatch each other’s tails (after getting them, they toss them on the floor).
The players can also team up in duos or trios and agree to get everyone else’s
tails first before going after each other’s (they decide this backstage).
When a player loses their tail, they have to leave the club. They must find a
reason to go (not just because they lost their tail). They can go right away or
linger a bit before leaving but they cannot grab any tails once they’ve lost theirs.
The players should establish the scene and who they are, before starting
in on the game. Play the tease and the tension, trying not to be so overly
concerned about losing or grabbing a tail that the game becomes obvious;
play the scene of a dance club and the characters that come there, let the
game underly the scene and create dynamic tension. Turn the grabbing and
the avoiding into a playful dance. Remember, the last one who grabs a tail
wins, but then, they’re all alone in the dance club . . .
● When a player loses their tail, they stay onstage. They’re out of the
game – they can’t grab anyone’s tail – but still in the scene. This will
generate some confusion as the players who are still in the game aren’t
always certain who is still playing (who might grab their tail) and who
is no longer a threat. The last one left with a tail can choose to flaunt it
or pull off his own tail and join the group.
Variation 2—Scene snatch Three players play a short scene or present a

skill. Each player has a sock tail. They present the scene or skill while trying
to snatch each other’s tails. The main focus for the players should be on
presenting the scene or skill, not the game of snatching a tail. As in Variation
1, the players don’t rush to the game right away: they enter for a performance,
set up the act, acknowledge or greet the audience, give them some idea of
what they’ve come to do, show the preparation for the skill or task, all the
while remaining alert to when the game starts.
Experiment with hiding the action, snatching the tail without the audience
knowing it. Play the tension that the game elicits. Let it provide a dynamic
subtext to the scene.
When a player’s tail is snatched, they make an exit. The player should find
a reason for leaving (e.g. they forgot something backstage; they’re feeling
sick; they become terrified of the audience, etc.). If a reason occurs to him
right away, he goes. If not, he lingers before exiting. The player left onstage
must then finish the scene.
Variation 3—The act, the game Same as either variation, but the players
don’t have socks, instead they tag each other out by placing their hand against
the small of the back or other designated place on the body, such as the top of
the right foot (putting the target in a hard-to-reach place forces the players to
be creative in how they get close enough to tag a player out). The tagging spot
should be known only to the players, not the audience. As above, the players can
leave right away or delay the exit. They justify their exit according to the scene.
This game of tag could be played under any scene, whether it was a group
performing a complicated task, presenting a skill routine, a love story, a
serious, dramatic scene, etc. It forces the players to be in two minds: the
director focuses on the scene, keeping the story alive for the audience. The
clown stays aware of the game that is being played and how it keeps everyone
in the moment, interacting in a more dynamic way. For example, the
director’s mind sees two players coming together to greet each other, shake
hands or embrace; that’s the scripted scene. The clown’s mind is wondering
if she will be tagged out, should she tag the other player out, or approach
them with no other intent but to greet them. It’s also possible to include this
sort of game in a scene and not tag anyone out; the game will still add a
dynamic tension to the scene.
Advice
● “Can you work the two objectives—playing the scene and winning the
game—without having the game dominate, or making it obvious?”
● “Winning the game has an added consequence (or bonus): the last
person onstage is left with the responsibility of finishing the scene
(looked at this way, losing can be a good strategy for getting out of
having to devise an ending).”
SCENE TRICKS
Some of these tricks are borrowed from film techniques, others
from improv games. They are effective not only for creating comic
moments but also for making an action or story clearer and better
understood by an audience.
Props: Stage flats or curtains for entrances and exits and sound effects (see
Variation 4 for suggestions).
Variation 1—Slow motion At any point in a scene everything goes into slow
motion. Movements are slowed down (the group decides just how slow), vocal
sounds are elongated, enunciation is exaggerated, the voice goes to a lower
pitch, or a slowed down high-pitched voice, facial expressions are exaggerated.
Slow motion is an effective way to change the dynamic or rhythm of a scene.
Slowing things down may also help the players think faster: it gives them more
time to see an action unfold, think ahead and be able to respond more quickly
(but in slow motion). It can give the audience a rest, allow them to enjoy
moments more fully, as you toy with time, movement, visuals and sound.
Variation 2—Rewind At any point in a scene, the players stop and rewind:
they take the scene they’ve just enacted and play it backwards (keeping it
physically accurate) so the audience can enjoy it in reverse. Or they do the
rewind as a blur of movement and sound to get back to another point in
time and go forward in a different way. The players can move in another
direction—“We went that way and nearly fell off the stage. So, let’s go this
way!”—and they still fall off the stage. Or after the rewind, they play the
scene with a new element added, as if the players forgot to include something
or the audience missed some important action.
Variation 3—Fast forward At any point in a scene, the players fast forward
the action and jump to a new point in time. This can be used to skip over
“boring” parts, to leap ahead and give the audience information that might
help them understand what’s going on in the current scene (the players then
rewind to the place they started from), or create suspense, for example, by
fast forwarding to a later scene that shows a player strangling someone, then
rewinding back; as the scene progresses towards the revealed moment, the
audience waits with anticipation for the action.
Note: In both Rewind and Fast Forward, the players can also explore speed
and movement: actions can be done either in slow motion or as a speedy blur
of sound and action. Or a mix of both.
Variation 4—Sound effects A player—we’ll call her FX—stands or sits to

one side of the stage next to a table and provides sound effects. These can be
made with the mouth, hands or feet, percussion instruments, whistles, bells,
blocks of wood, trashcan lids, etc. The players improvise a task, an act or scene
and FX adds sounds: they can pause for sounds to be added, or FX manages
to hit them on cue with no prompt from the players, or FX interrupts the
scene with an effect. Her job is to add to the scene as well as support what her
partners are creating (and occasionally provoke an action by making a sound).
Variation 5—Sitting, standing, kneeling, lying To start, each player is

assigned one of the four positions. The adviser creates a simple setting using
props and furniture. The players improvise a scene or act out a task. As they
play, there must always be one player sitting, one standing, one kneeling, and
one lying down. If a player who is sitting stands up, the person standing must
sit. Or the one kneeling might sit which means the person standing must
kneel. This is played as a game underlying the scene: the players justify the
changes in position. For example, they stretch their body upwards to stand,
or drop to their knees, seized by a sudden urge to pray.
This can also be done with energies. For example, one player is happy,
another angry, one is sad, another is lusty. When happy changes to angry,
angry changes to happy. Or mix it up: angry changes to lusty, who changes to
sad who changes to happy who changes to lusty. This can get confusing, but
the players should enjoy the chaos that might ensue and keep their energies
in play as they work to clarify who is using what energy.
Variation 6—Build Take any action, set it up and build it slowly. This can
be anything from a sneeze, wanting to kiss someone, wanting to hit someone,
etc. Find the initial movements that telegraph the action and use them to
build anticipation: for a sneeze, the face starts to tremble, the nose wrinkles
up, the breath comes in short gasps; for a kiss, the players make eye contact,
touch their own mouths, their lips start to pucker; for a hit, one player starts
to pace, clenching and unclenching her fists. The movements build up the
suspense, the drama and/or the comic potential of a moment in a scene.
PROP JOURNEY
This exercise builds on the work done in Section 4: Prop Play,
combining an improvised journey with multiple partners, using
props. These variations involve a single pass across the stage, but
the ideas generated can be used to develop more involved scenes
(any of the scene tricks in the previous exercise—Slow Motion,
Rewind, etc.—can be used in this journey).
Variation 1—Discover, play, move on Five or more players, each one

chooses a prop. The players lay the props out across the stage, the first prop
close to the entrance, the last one close to the exit. They step backstage and
decide what kind of journey they’re going on and what’s the setting. For
example, a bad section of town, a dark scary forest, a jungle full of wild
beasts, a hike along a rocky, narrow mountain pass, a desperate walk across
a brutally hot desert, etc. While they’re backstage, the adviser lays a new prop
amongst the others.
The players express the type of journey they’re going on by how they
enter and move towards the props (they could use the Visualization:
Environments exercise pgs. 74–75. They can make vocal sounds or use
gibberish but avoid intelligible words. Each prop they see and handle
is used in such a way as to develop the journey: the player who chose it
decides what it is in the scene and the others join in the improvisation
with what that player decides. The prop can be used for what it is or
transformed into something completely different: a stick could be a machete
to cut a way through a dense forest, or a telescope to see further ahead. A
hat could be a hat or a bucket to carry water, or the steering wheel of a
jeep. The players enact a short scene with the prop, then lay it down and
continue the journey.
At some point, the players discover the prop laid out by the adviser. This
must be discovered by the entire group, all moving to it together. The group
decides what it is and how to use it in a short scene. After a scene with the
final prop in the journey, they find a finish for the scene and exit. All the
props are left onstage.
Note: Each prop creates a pause in the journey, a short scene that elaborates on
the setting and develops the play between the group. Once this short scene is
played out, the group leaves the prop behind and moves on. This allows each
prop to have its moment of discovery and to be used in a scene.
Variation 2—To each his own Five or more players count off; each one
chooses a prop. In this variation they enter carrying their props. Crossing the
stage, they each use their prop in some way to tell the story of their journey,
player number 1 starting first and continuing in numbered order. The adviser
sets one new prop onstage that the players must all discover and use together,
at any point in the story. They find a finish for the scene and exit.
Note: The adviser can allow the players to explore all variations on their own,
get a feel for the exercise and make some discoveries with the props before
presenting to the rest of the class.
Advice
● “When a prop idea is introduced, develop it. Expand on the idea rather
than get caught up in small clever bits or easy jokes.”
● “Each player should aim to be clear about what their prop is once they
pick it up. Once it’s understood, the others commit to it and build a
short scene around that choice. Don’t bail out and suddenly change it:
if you decide a bucket is a soldier’s helmet, stay with that and build on
the idea rather than switching it to something else.”
● “Play with the prop’s possibilities: let it be what it is; turn it into
something else; make it come alive, manipulating it like a puppet; twirl
it, flip it, juggle it, show off a skill. Fall in love with it, hate the damn
thing. Fear it! Try to eat it. Dance with it . . . How imaginative, absurd
and surreal can you be with the props?”
● “Could you build the scene so that each prop creates an escalation in
the journey, the story and the play?”
BLINDFOLDED EXPERTS
Crucial to good clowning is learning to play the scene, not the
problem. The audience doesn’t want to pity the clown but would
rather, witness how imaginative, inventive, resilient, or lucky they
are when they come up against an obstacle. This exercise creates
real problems for the players which they cannot avoid; they must
explore creative and playful ways of dealing with an obstacle rather
than being totally flummoxed or defeated by it.
This is a great exercise for developing clown routines: I’ve had
students film their blindfolded play then copy some of what they
did without blindfolds to create an act. Blindfolds disadvantage the
players in ways they cannot fake, makes them less self-conscious
about failing, and generates material in an organic, unassuming way:
no one has to try hard to be funny, it will happen naturally.
The basics: The players form groups of three to four depending on the scene.
The adviser chooses a scene from one of the choices below and explains the
scene first, then tells the players they must enact it blindfolded. The players
go backstage and put on their blindfolds; the adviser hands them their props
or sets them onstage depending on the scene.
Props for scenes: Jugglers: nine juggling beanbags or balls. Paper planes:
sheets of paper for making airplanes. Coat and hat: three coats and three
hats with a table or rack to hang them on, miscellaneous accessories such
as a scarf, gloves, a handbag, a bra, etc. The party: table and four chairs, paper
cups, a pitcher with one to two cups of water in it, a plastic tablecloth, a mop,
and towels for clean-up. At least eight blindfolds (they can get a bit sweaty so
have extras), stage flats or curtains for entrances and exits.
Note: Please read all the way to the end. The Notes at the end of the scene
suggestions are important for understanding the best way to prepare for the
scenes and understand their objectives.
Variation 1—The jugglers Three players wait backstage. The adviser informs
them they are world-renowned jugglers who have come to show off their one,
amazing, three-ball trick. The adviser explains the scene: “You enter together,
come downstage and take bow. You move upstage and form a line facing the
audience. The first Juggler moves centerstage, presents himself, acknowledges
the audience, prepares for his juggling trick, executes the trick, gets the
applause, takes a bow, and moves upstage to rejoin the line. The second Juggler
follows the same sequence then moves back for the third. After the third
Juggler completes the sequence, all three bow together and exit.”
The players step backstage and put on their blindfolds. The adviser hands
them their juggling props then cues applause: the players enter during the
applause, take their bows and play the scene.
Variation 2—The paper airplane experts Three players wait backstage.

The adviser informs them that they are paper airplane experts who have
come to show off their amazing ability to make a perfect paper airplane with
just five folds. The adviser explains the scene: “You enter together, come
downstage and take a bow. You move upstage and form a line behind the
table facing the audience. You each pick up a piece of paper. The first Expert
presents herself, acknowledges the audience, then shows her method for
making a paper airplane in five folds. She shows the finished plane. The
expert prepares, throws the paper airplane, watches it fly, styles and takes the
applause. She then gestures to the next Expert. He repeats the sequence, then
gestures to the third Expert. He repeats the sequence. After the third Expert
takes his applause, all three take a bow together and exit.”
The players step backstage and put on their blindfolds. The adviser sets
the table with three pieces of paper. The players wait for the applause to cue
their entrance.
Variation 3—My coat and hat please Three players wait backstage. The
adviser decides on a scenario: they’re going to a party, a funeral, to the office,
etc. They’re entering in order to put on their coats, hats, and an accessory and
go out. The adviser explains the scene: “You enter together or one at a time,
make your way to the coats and hats and begin to put them on, making sure
you get your hat and coat. You step downstage to check yourselves in a large
(imaginary) mirror. When all have your coats, hats and an accessory, and
have checked yourselves in the mirror, you exit, heading off to the party,
funeral, or office, etc.”
The players step backstage and put on their blindfolds. While they do this,
the adviser sets the table or coat rack with three coats, three hats, and three
accessories. The adviser cues the applause; the players make an entrance and
play the scene.
Note: The adviser can make the rule that all players must remain onstage until
each one has a coat, hat, and an accessory on their bodies. Make it clear that
there must be a sense of urgency in the scene: the players are late for wherever
they’re going and must get ready quickly.
Variation 4—The tea party Four players wait backstage. One is chosen as
the Host. The adviser explains the scene: “The Host enters first, prepares the
space, arranging the table, laying out the tablecloth, chairs and cups, getting
ready for her guests. I’ll make a knocking sound to cue the first Guest to
enter. The host hears the knocking sound, goes to the door. The first Guest
enters. Host greets them, invites them in, and the party begins. I’ll make a
knocking sound to cue the next Guest. The sequence is repeated with the
Host welcoming each Guest at the door. When all the Guests have arrived,
the Host gets them seated, gives them each a cup, and pours water from the
pitcher into their cups. They drink a toast. Play the scene—a lovely party on
a lovely day—eventually finding an ending or I’ll cue you to end it. The
Guests exit, with the Host leaving last.”
The players put on their blindfolds backstage. While they do this, the
adviser sets the table and four chairs, four paper cups, and a pitcher of
water (play with the amount, just be aware of how much may have to be
mopped up). The adviser lets the group know when the stage is set. The Host
enters.
Notes on the set up: For Variations 2–4, The adviser can place things in a
normal way—paper set neatly on the table; coats etc. neatly on the rack; chairs
around the table, cups and pitcher laid out on the table—or in an unconventional
way—paper set on the edge of the table so it falls off easily, hats stuffed in the
sleeves of coats, chairs stacked on top of the table, placed under the table, cups
placed so they might fall off the table when Host reaches for them, etc.
Notes about the space: Don’t play Blindfolded Experts on a high stage and be
aware of any areas in the space where the players may stub their toes, trip over,
or run into (shoes can be worn if desired). The players should be challenged but
not feel endangered. They should play boldly and with energy but stay aware of
the challenges posed by the blindfolds and the space.
Notes on all variations: The adviser can decide how much she wants to explain
regarding the things the players should focus on. It can be helpful to let them
make mistakes so others can see what they are. For example, after a scene is
played, the adviser asks the audience, “Who was playing the problem? What
clues told you this person couldn’t see? Did they constantly grope about,
searching with their hands before doing anything? When others were doing
their bit, did they watch them or just stand as if staring off into space, not
present in the scene? When they bumped into things, did they react to it or did
they ignore it, calling attention to the fact they couldn’t see what they’d bumped
into? Who took the mistakes and accidents and turned them into advantages?
For example, groping about with the hands could be camouflaged by turning it
into a dance or an eccentric way of moving.” By playing the scene despite the
obvious disadvantage, the players increase the comic possibilities, discover
eccentricities, and the audience engages more with the play.
Notes on the rules: The adviser should set certain rules to keep the players in
the scene and not let them take shortcuts. For example, in Variation 1, the
Jugglers must do their trick with all three balls and leave with all of them in
hand. In Variation 3, a player may drop a hat and not be able to find it. He may
try to make it easy on himself and leave without it. The adviser should inform
them they cannot leave without wearing a hat, a coat and with an accessory
each. In Variation 4, all Guests must be served a drink.
Advice
● “You can’t see what you’re doing but play as if you can. Don’t grope
about in space the way you might if you couldn’t see or stand frozen
not looking at what your partners are doing. Look at someone in the
audience, even though you can’t see them. Look at the place where you
dropped the ball, even though it may be somewhere else. Look at your
partners often, give them focus, even if – because you can’t see – you’re
staring at the wall.”
● “Your most important sense in this game is your hearing. Actively
listen to the sounds of balls dropping, your partner’s footsteps, paper
being folded, chairs being moved, water being poured, etc. Listen for
the audience’s reactions: their applause can tell you when a trick is
finished, their exclamations can tell you you’re about to bump into
something. If they laugh, find out why they’re laughing. Make it an
active search: ‘Are they laughing at what I did? I’ll do it some more! Or
maybe it was someone else . . .’ Work hard at listening, responding and
building on what you hear and what you believe is happening in the
scene.”
● “No talking. Keep vocal sounds to a minimum. You can make sounds
in other ways using the props, the space, etc.”
● “Be cautious but at the same time play boldly! Coming out and playing
with energy—damn those blindfolds—will generate more comedy and
engagement with the audience, then coming out timidly, groping
around the space. This exercise puts you on the sharp edge between
relating energetically with the audience, while listening with great
attention to your partners. Don’t get lost in one or the other. Stay on
that edge.”
● “Why is it funnier when performers are disadvantage this way? It gives
an audience a feeling of power. ‘We’re ahead of this guy—he can’t see
what he’s doing!’ But they also feel empathy: ‘She can’t see what’s she’s
doing, poor woman.’ Because of the potential for imaginative play
inspired by the disadvantage, the audience are eager to witness how the
players solve problems and deal with limitations.”
● “As you watch others, what are the tactics they use so as not to appear
blind? Use them yourself and expand on them!”
● “How can you find the same level of mishap and comedy without the
blindfold? What makes the scene work, why is it funny? Listen to the
feedback and try to recreate the atmosphere and energy of the scene
without the blindfolds.”
● “A blindfold can also be internal: a person’s pride, absent-mindedness,
joy, lust, anger, fear, etc., can also act as a blindfold; it can disadvantage
them in a way that can generate comedy (think of how Basil Fawlty’s
pomposity creates so many comic moments in Fawlty Towers).”
● “The audience doesn’t want to see you groping about blindly, too timid
to play; they know you can’t see. The pleasure comes from watching
you—the clown—deal with the problem in inventive and imaginative
ways. Taking a disadvantage and turning it into an advantage—by
cleverness, accident or luck—is one of the essential survival and
performance skills of a clown, and one of the best ways to develop a
scene, progressing from one obstacle and mishap, to another.”
Summary
Devising new, original performance material from ideas and group improv
is challenging. This is followed by the even more arduous task of making it
all work in front of an audience. But when it does, it’s a thrill like no other!
To hear an audience laugh and applaud for something that grew out of a
desire to collaborate, to share quirky ideas and individual passions, brings on
a true feeling of joy and the delight of performing live. And when you see the
pleasure you feel onstage mirrored by the audience, you know all the hard
work has been worth it.
The exercises in this section further developed the trust and complicity
needed for group collaboration, creating environments where individuals
could share ideas and interact with one another in the moment, while
offering ways to lay the groundwork for building comic acts and scenes.
There were games that encouraged cooperation, others competitive status
play. We explored how a game could be developed into a scene or used as a
subtext in an existing scene. Groups improvised imaginative and absurd
scenes as well as playing with props. It finished with an exercise that allowed
the players to openly be a fool, as well as teaching the art of slapstick, which
I define as the comic interaction with the physical world (more on this in
Section 12: The Skillful Clown).
Figure 11.1 Devin Shacket: The mask of the clown. Photo credit: Eric Gillet/
Shoot That Klown.
224
11
The Mask of the Clown
Makeup, Nose, Costume

I’ve put this section at the end because I feel it’s important for students to
rediscover and manifest an honest, less inhibited, and fully engaged way of
playing, before they consider putting on a mask (when I use the term “mask
of the clown” I’m referring to makeup, nose and costume). While some
players will forego a nose and makeup, most will choose some sort of
costume (even if it’s a t-shirt and shorts). I use all the elements of the mask
as tools to help students in their explorations but discourage them from
Figure 11.2 Paul Philion. Photo

credit: Eric Gillet/Shoot That Klown.
225
designing a look right away: if the student tries to define the mask too soon,
there’s a risk they’ll lock themselves into a way of playing based on how they
look rather than how they truly play. Better to introduce a few bits at a time
and let the students toy with various elements of the clown’s mask so it
evolves along with their understanding of true play. More on the costume
later. First let’s start with the face.
The Painted Face

As I stated in the Introduction, many people associate clowns with a certain
look, and a big part of that look is clown makeup. But as I dug deeper into
the history of clowning in the West, I discovered that the makeup had a
source, there was a reason for its use. Here are a few theories cobbled together
from many sources.
The authoritarian Whiteface clown grew out of the white makeup used by
actors who played Death in the medieval mystery plays. The other characters
were naturally afraid of him, but would also poke fun at him, much to the
delight of medieval-era audiences for who had more firsthand experiences
with death than we do in modern times. Because there was no escaping
Death and his verdict, he was the ultimate authority figure. With this in
mind, it’s interesting how the Whiteface in traditional circuses became the
high-status clown that everyone was afraid of (or at least intimidated by),
but also made fun of.
The make-up of Joseph Grimaldi, English actor, comedian and dancer,
was a major influence on how clowns painted their faces. One story is that
his make-up was meant to be a parody of the way English dandies and the
upper classes whitened their faces, outlined their eyes, rouged their cheeks
and painted their lips. That joke is lost on modern audiences; to some, it’s
just face paint, to others, its scary makeup.
In the theater’s early days, when stage lighting was minimal, actors would
whiten their faces and accent the area around their eyes and mouth so their
expressions could be read more easily by the audience. The white created a
bright canvas on which to exaggerate their face with added colors and accents,
more easily seen from a distance, in low light. Clowns took this further,
especially in the early years of the circus ring before spotlights and high-tech
lighting. It wasn’t just a stylistic choice, it helped solve a real problem.
The invention of the make-up style known as the Auguste is usually
credited to Albert Fratellini, of the Fratellini Brothers clown trio, one of the
The Mask of the Clown 227
most popular comedy acts in Europe in the early 1920s. His look was
a mixture of the Whiteface and the Tramp clown to which he added a red
nose. Because of the group’s popularity, their look influenced generations of
circus clowns and is still in use today.
Emmet Kelly’s Tramp clown, Weary Willie, was a reflection of the many
poor people who were out of work or transient, when he first started with
the circus. He was trying to make a connection to his audience with a clown
who expressed their weariness over their struggles, while finding resilience
through humor. The look, though exaggerated, was based on real people.
It’s important to consider the source of things in any art form, why
something was created, what it grew out of, how it was a transformation of
an idea, an observation, or an attempt to solve a problem. Even the most
exaggerated style grows out of something real. With this knowledge, the
players can dig deeper into the source, try to empathize with it, to better
understand its origins and perhaps use it in similar ways. They can keep it in
the back of their mind as they explore: they should be conscious of it even if
the audience isn’t. It can give their play a greater depth and edge. For example,
imagine playing the Fool to the authoritarian Whiteface while thinking of
him as Death.
When I work with students, I use the makeup as a tool, not simply as a
way of illustrating a clown. I’ve worked extensively with masks and witnessed
first-hand the power they have to uncover the deeper potential in a student.
I use makeup in the same way I would use a mask to help the students shed
inhibitions, altering themselves visually and physically in order to expand
their range and open up greater possibilities. We are identified and known
mainly by our faces, the “social mask” we present to the world, so when this
is altered—even a pair of glasses or facial hair can become a mask—it
encourages the players to go beyond their ordinary, commonly recognized,
social self. With the makeup as a mask, their usual expressions are expanded
and transformed. And so is the player.
If they want to work with makeup, I ask students to keep three approaches
in mind:
1 Enhance: Accent certain parts of the face with line and color, usually
around the more mobile areas such as the eyes, the eyebrows, and the
mouth to enhance their expressiveness. Most clowns who go this route
use a flesh tone base (or none at all), a bit of red, black and white for
accents. They avoid bright colors or use them minimally. The make-up
is blended and softened, the lines between the colors less stark; this
look is closer to stage make-up with strong accents.
2 Fixed: Decide on a particular look or expression and create a fixed

look on the face. Paint on a smile or frown, draw the eyebrows high up
on the forehead so the clown always looks surprised or confused. A
painted-on smile makes it easy for a clown to always look happy, and
when they really smile, it exaggerates it. Or if they frown, the painted
smile creates a contrast between the mobile, frowning face, and the
fixed, happy mask.
The fixed style works well in the circus where a clown is usually
playing in a large tent or arena and their expressions need to be read
from a greater distance. When I first met the great American clown
Lou Jacobs in makeup, I had to take a step back: up close, with his huge
painted-on smile and the white highlights around his eyes drawn up
onto the high prosthetic conehead he wore, it was a little scary. But
when I sat in the arena and watched the show, he was the guy you
noticed. His mask—especially the conehead which elongated his face,
and the painted black area around his mouth which created a huge
open grin—was exactly the sort of thing you wanted to wear in a three-
ring circus because it read from even the furthest seats.
So, when working with makeup, it’s important for the players to
consider the venue they’ll be playing in. The amplified look of the
circus clown may be too much up close (one reason this type of
circus clown makeup scares some kids). In an intimate theater
setting, it may come across as an unnecessary exaggeration (unless
the objective is to create a hyperbolic world). A simpler makeup
that doesn’t distract from the expressiveness of the face but rather
enhances it, may give a clown greater verisimilitude, the audience
will be more willing to go with them if they play with deeper or
weightier themes.
3 Ornate: Some call this style “Glitter Clown.” Drawn-on stars, flowers,
rainbows, curlicues, glued on glitter or rhinestones, lines and shapes
that have no relation to facial expression. This style is mostly decorative.
It’s not often used in clowning outside the circus ring or in fashion
shows, though it can be used if what a player is aiming to express is a
vain, flashy, pretentious clown. The disadvantage is that it can get in the
way of reading the clown’s expressions.
The traditional circus evolved set ways of making up as a clown. Like any
tradition that is adhered to strongly, it became a cliché, rote, restrictive. This
is one of the reasons I believe it fell out of favor with the younger generation
exploring clowning: to say the clown is open to play, to imagine and invent
without limitations, and then restrict them to a set way of making up, felt
like a contradiction. The form needs to be blown open now and then,
traditions reimagined, the players free to explore in any way they choose—to
enhance their face, to wear makeup as a mask, to decorate—even smudge it
on like a child might and then, over time, shape it into a look, like a painter
smearing colors over a canvas and then drawing out of it a face. Makeup is
not mandatory for a clown: students should see it as a tool to help them
expand their potential for play. They can continue to use it in performance,
or take the insights gained from working with makeup and go onstage
without the mask.
The Smallest Mask

At Jacques Lecoq’s L’École Internationale de Théâtre, one of the most
influential schools of physical theater in the world, one of his teachers, Pierre
Byland famously said the clown nose is the world’s smallest mask. Like a
mask it conceals the identity of the player yet it has the potential to reveal
and open up her inner life to an audience. Safely “hidden” behind the nose,
she feels more secure to reveal her sinner elf—I mean, inner self.
Figure 11.3 The nose is a mask. Photo credit: Eric Gillet/Shoot That Klown.
Inspired by the idea of the nose as a mask, I rejected the one-size-fits-all

red, ball-shaped nose and made a series of noses of various shapes, colors
and sizes. It was interesting to see how the players became more discerning
in their choices: they felt that each nose would bring out something different
(and they did). It also allowed the clown work I was doing with the students
to flow into commedia, a style of theater that has a lot in common with
clowning. The emphasis on the nose as a mask made it much easier for the
students to play with the commedia half masks I’d made (the masks I
designed started with the nose, its shape influencing the sculpting of the rest
of the features, and the final character). Understanding how clown and
commedia overlap and influence each other is crucial to reclaiming them for
the modern age. But that’s another book.
As students develop their way of playing and the look they want to create,
they then decide to nose or not to nose. Whichever choice they make, it’s
important for them to understand the significance of the red nose and
experience its effect as a mask, as a tool to both conceal and reveal, and to see
the red nose as a symbol. Most people are aware of clowns or have had an
experience with one, so when they see someone wearing a red nose, that
symbol creates an expectation of how this person will act. It’s important for
a player to keep this in mind: expectations are useful in clowning because
most people will come to a clown show having already made a judgement
about what they expect to see, which is usually something cute, mostly for
kids, play that is exaggerated, silly, bombastic . . . Clowns constantly play with
expectations, so a player who walks onstage as a red-nosed clown has plenty
to work with: he can satisfy the audience’s assumptions and play the way
they expect him to; she can play to their expectations then go in a totally
opposite direction; or they may do whatever they can to undermine any
expectations about anything a clown supposedly does.
Like the makeup, the red nose can be used as a tool to help a player (and
her audience) overcome inhibitions, but it’s also a powerful symbol to play
with if they keep in mind all that it represents and what people expect from
a red-nosed clown. Thinking this way, the clown sees the nose itself as a
game to be played with, the clown’s energy defining the role and the mask
from moment-to-moment.
Just as the nose can help a player reveal and open up her inner life, the
clown can do the same for an audience. That kind of vulnerability can be
downright scary for some people and players working in the form must
respect that. Even if the clown plays with dark, uncomfortable, or weighty
themes, they never lose their humanity, their desire to connect with the
crowd. Their aim is never just to leave the audience feeling threatened,
frightened or upset—this can be part of the play—but empathy is the essence
of clowning and that affinity with the crowd—that understanding by the
players that the clown is a part of the audience’s world as well—is always at
the forefront of the clown’s interaction with the crowd. When it becomes
only parody, anarchy, or agit-prop, it moves into the world of the satirist, the
bouffon, the fool, or the jester. The clown shares a similar world to these
comic types, but there is an openness, a deep curiosity, and a healing sense of
wonder in clowning that is not always evident in more satirical work. What
drives the clown is their intense interest in everything around them; this is
manifested in how they play with the crowd. They may use critical comedy,
lampoon, or barbed attack, but they do so to connect, not to simply comment,
critique, or judge. Even in the clown’s most difficult struggles or darkest
moments, there is always the potential for play and resurgence.
The Body Mask

There is always that moment in the development of any show—clown or
otherwise—when the costumes are brought into the room. Everyone lights
up, eager to start putting on the clothes! The thrill of “dressing up” must be
hardwired into us from an early age; it is one of those games that kids adore
and brings out the kid in every adult.
The costume is probably the most significant element of clowning:
everyone understands, on some level, how clothes work as a mask; we all
know the expression, “the clothes make the man.” Clothes have a greater
visual impact and through movement—and the play with the costume—
thoughts, ideas and emotions can be expressed, enhanced and expanded
upon.
A costume can look like everyday clothes, have slight exaggerations, be
too tight, too loose, or a combination of both (Charlie Chaplin’s tight coat
and baggy pants). The clothes may seem odd, the makeup bizarre (the
Canadian clown duo, Mump and Smoot). The outfits can be dream-like,
otherworldly (as in Slava’s Snowshow). The players can juxtapose clothed
parts of the body with parts uncovered: baggy shorts over skinny bare legs, a
ridiculous looking shirt with no sleeves revealing muscular arms, a hat that
covers a bald head or, when lifted, reveals a mass of curly hair.
Like the process of making up the face, the adviser should give the players
a chance to evolve their look by bringing in racks of clothes and letting them
try things on, to see what the bits and pieces of costume do to them physically
and visually. Encourage them to try as many variations of the body mask as
possible: find clothes that make them look good, and ones that make them
look ridiculous. Clothes that impede their movement in some way—too
loose or too tight, sleeves that are too long, a hat that’s too small—thus
creating conflict and comic possibilities. Sometimes the choice is visual or
tactile: the players like the shape, the color, the way a costume hangs on their
body, the way it feels against their skin. They should try clothes they feel
uncomfortable in to see what that agitation does to their way of playing.
Wearing an obstacle is one of the best ways to find comic play: a player is put
off balance in a tangible way, the sense of being odd or awkward in their own
skin is immediate and tactile.
The players should go wandering through secondhand clothes stores, the
costume stocks in a theater, the closets of their friends, letting costume
discoveries happen by chance. Put the players into groups of three and let
them dress each other, the person being costumed is given little say in the
choices made and is dressed completely before they can look in the mirror.
Like the nose, the costume is a teaching tool: it will make suggestions,
offer ideas on how to move, play and relate to the world. It’s also a mobile
props case: clowns can literally wear their show on their body. A hat can be
used to show off tricks, a coat can be turned into a lifelike human partner,
shoes can be transformed into hammers or telephones, socks into hand
puppets (comic and clown George Carl made a career out of playing with his
hat, getting a microphone cord tangled in his coat and his thumb caught in
the buttonhole). With this in mind, let’s look at clowning and skills.
Figure 12.1 Sophia Knox-Miller: The skillful clown. Photo credit: Eric
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12
The Skillful Clown
The Dexterous Fool

Due to their long history with the circus, clowns were exposed to a variety of
highly skilled artists. From their fellow performers they picked up tricks
they could use in their acts, either as a parody or presented to impress the
crowd, who enjoyed the contrast between the clown’s apparent clumsiness
and a sudden display of first-rate skill. Many clowns started out as acrobats,
rope walkers or trick riders, then moved into comedy after an injury or
age limited their ability to perform more difficult tricks. Other skill artists
discovered they had a natural talent for making people laugh and switched
to clowning (the legendary Edwin “Poodles” Hanneford was a brilliant
equestrian who became a clown).
Figure 12.2 Joe

Dieffenbacher aka
nakupelle in Bon
Appetit! Photo credit:
Matilda Dieffenbacher.
235
A lot of the training I’ve witnessed in circus spaces around the world is
focused mainly on learning skills. The risk is that the more impressive the skills,
the harder it is for the performer to connect with the audience: they’re so
concentrated on their tricks they have a hard time making a human connection
with the crowd. Clowning offers a unique way to combine both skill and audience
interaction because clown training creates an atmosphere that supports both
competition and collaboration. It opens a player up to experimentation, bending
the rules, flexing the imagination, not just the muscles. It embraces a high level of
skill while it celebrates the inelegant, the inept.
Because I see the clown as a strongly physical and visual performer,
training in any skill that teaches greater control of the body and provides the
players with more options on how to use it, is encouraged.
Dance
Any form of dance will contribute to a more expressive body. Ballet will
teach good posture and alignment, tap will teach rhythm and footwork, hip
hop has elements of tap, mime, and acrobatics, while contact improv will
open the players up to greater physical exploration, teach them how to base
someone and to be comfortable with being lifted. It does wonders for
ensemble work.
Music
Music has always been associated with clowns, whether playing an
instrument, creating rhythms with props, or singing. Many clowns are also
talented musicians, some play multiple instruments. Music speaks directly
to the emotions in a way similar to clowning; the relationship to the music
and the musician feels immediate for an audience, certain tunes make us
want to tap our feet, sing along or get up and dance. Clowning should
encourage the same desire to participate.
Mime/Movement
These are sometimes used interchangeably: they can involve illusion mime
or silent acting, learning how to express thoughts and emotions with the
The Skillful Clown 237
body, the face, the limbs, the spine. They can help the players to discover the
link between everyday movement, expressive gestures, and dance.
Tumbling
It’s important for any player to be able to do basic tumbling moves such as a
forward and backward roll, dive roll, aikido roll, back shoulder roll, cartwheel,
round-off, headstand and handstand. Not only will the learning of these
moves strengthen the body, but they’ll decrease the risk of injury; rolls are
some of the best ways to save oneself from a fall, intentional or accidental.
These moves can be developed into pratfalls, used as dynamic entrances or
exits, or to find eccentric ways for clowns to move across the stage. Tumbling
teaches the players to let gravity have its way with them while acquiring
techniques that keep them safe (e.g. , how to use the hands and feet, as well
as rolls, to spread out the impact of a fall).
Partner Acrobatics
Partner acrobatics will increase the ability of the ensemble to play together
physically and help build trust. Moves should include partner balancing,
lifting, and throwing. Many acrobatic moves that are difficult for the
players to perform on their own can be accomplished safely with partners
(such as a backflip). Partner work generates physical complicity which is
essential for good clowning: partner acrobatics (and partner dance)
encourages a more organic, visceral and immediate state of communication,
which leads to a trust between the players that’s impossible to achieve with
words alone.
Slapstick
For the clown, all these disciplines serve the art of slapstick. It’s much more
than just silly knockabout or “comic” abuse: slapstick is how the clown relates
to the physical world, how she responds to its attempts to defeat her, play
with her, surprise her, and provoke her. And because everyone must deal
with the physical world, it gives the clown a connection to any crowd
anywhere in the world. This is why slapstick is universal.
Figure 12.3 The crowd in Ludwigsburg, Germany enjoying nakupelle’s The

Trap. Photo credit: Matilda Dieffenbacher.
In the most general sense, slapstick happens whenever you interact with
the world, whether it’s working with tools, furniture, office equipment,
curtains, computers, walls, the floor—anything tangible. Any time the body
moves—walking, sitting, lying down, standing up—there is the potential for
slapstick; something will go wrong or, more accurately, not go as planned.
You drop the thing in your hand, trip over a bump in the sidewalk, run
headfirst into a glass door, have trouble articulating what you want to express
and your body starts fidgeting and fumbling, you get your coat caught on a
door knob, can’t get the computer to function, etc. One can start to feel preyed
upon, it’s as if so-called “inanimate objects” have a mind of their own and
have chosen you as their plaything. Slapstick turns this low-level paranoia
into clown play.
Slapstick revels in all physical interaction, mines it for comedy, and uses it
to find common ground between the clown and the crowd. It gets a player
out of their head and forces them to engage with the physical world. Jacques
Tati was a master of small, subtle slapstick, pulling a myriad of comic
moments out of everyday life. Even the sound of a seat cushion or a swinging
door, a person’s way of walking or handling a broom, became part of his
slapstick worldview, making us more aware of the physical world and the
potential for play inherent in it (for a modern take on slapstick, physical and
visual play, see the work of the UK-based Mischief Theatre).
Slapstick is about training your mind to inhabit the world of the clown, a
world of obstacles, accidents, impact, and the tyranny of hard surfaces,
especially in relation to status. For example, when you fall off a chair, that
chair now has higher status. The comedy comes from how you recover, try to
regain status, or lose it completely. It takes what is internal and makes it
available to the audience by showing the struggle in physical terms, where
grappling with a real object or an environment can become a metaphor and
a visible expression of an internal state. For example, a man who keeps
running into things because of his vanity, too busy trying to look good to
pay attention to where he’s going. A woman so full of frustration she can’t
carry out a task without getting exasperated, getting tangled in her clothes,
her props, her own body.
There are three ways to present slapstick. I call them: Interruption,
Intervention, and Invasion. The first level is interruption: the clown has
a strong objective, “This MUST be done! By ME!” The clown is moving
towards his objective, determined to make it happen, 100 percent focused on
the goal! Then he’s interrupted. The interruption opens him up, distracts and
delays him. It’s short—the clown is sidetracked by something he sees,
someone stops him, he walks into a wall, he trips, etc.—then he gets back on
course, continues to pursue his objective.
If an interruption delays the clown momentarily, an intervention steps in
and alters her course. Something happens that moves her in a new direction,
causes her to work towards a different objective. She sees one thing, then
another, gets turned around by something behind her, then an object over to
her left. She gets so distracted by all the looking about, she loses track of
where she’s going. Or someone stops her and demands she follow them,
abandoning her original course. Or she walks into a wall and it dazes her to
the point she forgets where she was going.
An intervention changes the clown’s direction. An invasion destroys
everything, creates chaos, making the clown forget their objective completely!
A trip leads to a stumble, a fall, knocking over a chair, then a lamp, yanking
out its plug, short circuiting the wiring in the room, causing a blackout in the
house . . . Everything falls apart but somehow they bounce back or rise above
it. Or they choose to dive into the chaos and revel in it, create more! They no
longer have an objective; they simply try to survive (there are good examples
of invasion between Cato and Inspector Clouseau in Blake Edwards’ Pink
Panther movies).
Because slapstick draws from many disciplines—acrobatics, dance, mime,
martial arts, set design, object manipulation—and includes random, chaotic
movements that challenge every part of the body—training in slapstick will

increase a player’s physical répertoire. And the more variety a player explores in
their movement, the stronger and more protected their body will be: slapstick
training will activate and build up a greater variety of muscles and strengthen
joints, ligaments, and tendons. A diversity of movement training which includes
slapstick, offers the players more choices when devising material, helps them
express themselves physically, and creates more imaginative stage pictures.
Exercises that focus specifically on slapstick moves are difficult to describe
in words, so I have not included them. The best discipline for getting started
is tumbling, focusing on somersaults as well as front and back falls, learning
to drop or faint safely, and any move that develops upper body strength such
as planks or push-ups. Props and the physical elements in a scene—table,
chairs, couches, beds, pillows, sheets, costumes, etc.—can be used to cushion
a fall, support a player on their way to the floor, instigate a slapstick sequence,
and add to the visual play.
Skills, Tricks, Feats, and Stunts

As mentioned earlier, circus clowns are often multi-talented, surrounded by
any number of skill artists from acrobats and jugglers, to contortionists,
aerialists, rope walkers, dancers, and animal trainers. When I was with the
circus, I was always bugging the European acrobats to teach me something
and, in between shows, went out in the ring to practice.
On an economic level, having a number of skills, tricks, feats, and stunts
at your command can lead to more work: I’ve often been hired to do one
thing in a production but while waiting around I would practice a different
skill, the director would see me and get the idea to include that skill in the
show. I’ve seen this happen to a number of artists (just make sure you’re
practicing in view of the director).
Presentation
Skills such as juggling, sleight-of-hand manipulations, acrobatics, slack rope
etc., can be included in a performance in a number of ways:
● Present the skill as a display of tricks that garner applause in their own
right.
● Integrate the skill into a performance in such a way that it helps the
clown express who they are, what they’re thinking and feeling (see
Section 4: Prop Play).
● Skills can be used to enhance the playfulness and vitality of a scene.
For example, the clown juggles everything they lay their hands on
before climbing into the bathtub. He breaks out into a dance in order
to overcome an adversary. The clown doesn’t just run onstage to greet
her partner, she does a handspring or a dive roll before saying hello.
● Skills training gives a player much more than tricks to show off: sleight
of hand teaches misdirection which is particularly useful in comedy
(especially slapstick). The concentration a player learns from controlling
objects while juggling, helps her stay focused in scenes when there are
many things going on at once (and does wonders for eye-to-hand
coordination). Acrobatics not only gives a player a stronger body, but
more choices in how they use it in a scene.
● The discipline required to learn a skill teaches the players to value
focused work and dedicated practice. They begin to appreciate how
time works on the development of expertise, and how long hours of
practice and rehearsal contribute to the evolution of both the clown
and their performance; it’s not only about learning a skill but also
exploring possibilities with the clown in relation to the skill, and how
those skills can enhance and expand on the clown’s relationship with
the audience.
Figure 13.1 Get serious about your funny. Photo credit: Eric Gillet/Shoot That
Klown.
242
13
Getting Serious About
Your Funny
Begin to Begin
So, you’ve played games, explored exercises, and discovered new possibilities.
You’ve been provoked and played with, challenged, and inspired. Now you’re
eager to create something you can call your own. You’ve got ideas for clever
gags, hilarious physical business, jokes, and brilliant slapstick comedy! You
also feel you have something important to say, deep and profound insights
Figure 13.2 Lars

Adams and Carasue
McClendon go on safari.
Photo credit: Eric Gillet/
Shoot That Klown.
243
into the human condition—you want to be a clown and a poet, a fool and a
philosopher. But your head is so full of big ideas and lofty ambitions you feel
overwhelmed! Where do you start?!
To make a routine or a devised play from nothing more than a few ideas
is hard. You have to be honest about your weaknesses, and not rely solely on
your strengths. You must give your ideas time to be accumulated, pondered,
designed and built, tested, reworked, edited, and expanded. Your first
performances for an audience will seem like an extension of the rehearsal
process, as you stumble along trying to figure out what works and what
doesn’t. After that first presentation, you may end up with only a few insights
into a new work, or you might make more discoveries than you know what
to do with. The audience might respond to things you never imagined they’d
respond to, sit blank-faced during scenes you thought would be hilarious.
It takes quite a few shows to feel comfortable with new material, get a
consensus on what works and what doesn’t, and a few more to build on
what’s discovered and refine it. Your first performances are opportunities to
gather information, to discover more about your way of playing with an
audience, how they respond to you and what you’ve created. You’re trying to
strike up a conversation, invite the public to collaborate on developing this
new work, and expanding it further.
Below are notes that I’ve taken over many years of devising my own
material and helping others do the same. When you’re feeling stuck, I hope
these words will help you move forward. Afterwards, I’ll discuss practical
things you can do to get started on devising.
Take Action
Make a rough outline of what you want to include in a particular show,
gather the props and any costume bits you want to work with, get some
music that inspires you, find a space to work, and get started. Don’t spend too
much time at the outset plotting every detail. Devisers will often try to
include every single notion, skill, character, and comic bit they’ve ever
thought of in their attempts to devise a show. Know that this is a tendency
and be prepared to edit, to say no; you’re searching for the main through line
or story arc of the particular piece you’re creating. Setting some ideas aside
can make it easier to create a simpler foundation which you can then expand
on and perhaps reintroduce the ideas you edited out, later on. Focus on what
you want to say and how you want to play and include only the things that
Getting Serious About Your Funny 245
will help you do that. This will get you working your ideas on your feet as
soon as possible.
Get Serious
Games played in class or when developing new work, shouldn’t be looked
upon as separate from devising. They’re a way of understanding, evolving
and refining how you play in front of an audience, a chance to rehearse a way
of performing that is spirited and effective. If you play games in a distracted,
half-hearted, or superficial way, you’re reinforcing bad habits you’ll carry
onstage. If you play in a way that’s engaged, provocative and inquisitive, then
you’ll be using the games to practice your approach to creating original
material. You’ll be trying out ideas, discovering comic bits, strengthening
yourself physically, mentally, and emotionally. If you fully engage in the play,
you’ll be clowning and developing material every time you enter into a game
or exercise.
Make Progress Through Play

Don’t get caught up in long discussions or ponder or analyse objectives and
motivations too soon. Take the games from this book and get moving:
engage with one another. Use play to learn about yourself, your partners, and
the way they clown. Use the exercises to discover and develop ideas. Take
breaks, take notes, then get back on your feet and continue to relate and
explore, making progress through play.
Own It
To call the clown a character is to create a separate entity into which you can
dump all these things that actually belong to you. You have to learn to
celebrate your foolishness, your pretensions, your desires, and your joys. The
clown is you, opened up, elaborated, deepened, given greater dimension. The
classroom and the rehearsal space should be an environment for self-
discovery, a space to increase self-awareness, make you conscious of your
habits, patterns, and tendencies. Not to analyze or judge, but to become
mindful so the discoveries can be used to generate material, to develop and
improve your art. There is no hiding, only acknowledging, accepting, and

celebrating who you are in all your glory and all your floundering.
Stay Open
A clown show is always in flux: cause leads to effect which leads to
another cause to another effect in the constantly evolving, expanding world
which the clown inhabits. A clown show is never set, and you should seek
opportunities to keep it open to new possibilities (e.g. audience
participation—always unpredictable!). Combine this with a strong arc,
structure or plot and you’ll have a dynamic mix.
Make It Real
You may find yourself gravitating towards hyperbole when you begin to
explore clowning: instead focus on keeping your actions and emotions
grounded in reality. Do an action as you would if you were alone in
your room just doing it, without feeling the need to perform it for an
audience (see pgs. 124–128 The Real Thing). Once you can do something
without pretense, then you can expand, amplify, elaborate, and embellish.
Tune In
Become like a hypersensitive radar, open to find inspiration and ideas in the
rehearsal space, but also on the way to the space: from people on public
transport, kids, dogs, billboards, construction workers, a falling leaf, etc. Stay
aware, take notes, and develop the ability to recall anything that may be
useful when rehearsing and performing. This is one of the defining skills of
all great improvisers and devisers.
Find Ways to Connect

How does the clown develop her connection to the public? She might do it
with her juggling, playing a ukulele, throwing a back flip, telling a story with
Getting Serious About Your Funny 247
movement, or inviting people onstage to act out a fairy tale. He might choose
an energy that is strong in him—frustration, curiosity, fear, joy—and invite
the audience to feel the same by his actions. They might have a social or
political issue they want to share or discuss and through their play, find
common ground with the crowd. The ideas, skills, and energies that make up
a show should be seen not as ends in themselves but as bridges, connecting
the clown to the audience.
Take Notes
Any act of creation helps you understand how you create: What is your
process to take an idea in your head to a full-fledged performance onstage?
Do you procrastinate, or do you dive right in and keep at it with a wild
abandon? Are you focused, meticulous, pondering every step you take, or
are you messy, your process chaotic? Take notes about your way of working
without judging yourself: the notes will help you recall your process so that
each new creation becomes less of an immense frustration; you can see by
what you’ve written that you’ve been here before, and it’s clearly part of your
way of working. Taking notes can also help you break patterns, find new
ways to progress. They’ll help you get to know the Creator, Crafter, Clown,
and Director within, to invite them all into the studio to talk, debate, argue,
rant, and play together.
Accumulate
Any good clown act or scene is the end result of a long process—sometimes
taking years. Any strong performance of original, devised material has come
about through a long process of accumulation, the artists gathering together
ideas, skills, bits of comic business, personal discoveries, their changing
politics, an expanding social consciousness . . . all this is transformed in the
crucible that is a rehearsal/creation space, and over many tryouts in front
of an audience, forged into an entertaining/provocative/powerful/satirical/
moving piece of theater. That’s why I encourage the players to learn as many
skills as they can, hoard ideas, sayings, jokes, odd turns of phrase, eccentric
ways of moving, finding play in everyday activities. Because the clown sees
the potential in everything, they are the ultimate collector, one who is eager
to share what they’ve hoarded with the crowd.
Figure 14.1 Los Payasos Mendigos: Devising for clown and physical
comedy. Photo credit: Matilda Dieffenbacher.
248
14
Devising for Clown and
Physical Comedy
Nuts and Bolts

I’d like to end this book with practical advice. Here are ways I’ve begun
working on a piece (my own or when directing other artists), and the things
that inspired me to explore in a particular direction. Often, they were
combined: choosing a role also meant choosing props, choosing a task meant
Figure 14.2 Michael Hayes

shows off the emperor’s new hat.
Photo credit: Eric Gillet/Shoot That
Klown.
249
deciding how I would carry it out (what was the energy behind it).
Choose any one and begin, and you’ll discover how they all start to blend
together and create a richer world to play in. These propositions can be
used by solo players, duos or trios. Afterwards, I offer advice on ensemble
devising.
Choose a Role
This creates expectations for an audience—they recognize the role. It could
be a chef, a janitor, a doctor, an office worker, a waiter, etc. The clown can
either play into the expectations suggested by the role or subvert them. The
audience will enjoy the combination of role play that is recognizable, with
actions that are eccentric, challenging, surreal or absurd.
When choosing roles also consider status: establishing a hierarchy can
suggest actions, plot twists, comic play. This is true for solo artists as well:
What is your status in relation to the audience? Are you there to serve them
or show off? Do you see them as equals? Do you welcome them onstage and
wait to see what they’ll do, or do you require them to perform certain
actions? And remember, status shouldn’t be set in stone: as you play, stay
open to the pecking order changing, a high-status clown doing something
foolish, the fool taking the lead and establishing order.
Choose an Energy
When I created my solo show, Bon Appetit, one of the emotions I felt was
frustration: I was touring all over Europe and every other weekend
(sometimes every other day), I found myself in a new country having
to learn a new language to use in the show. The frustration I felt in
trying to communicate was translated into a way of speaking: the
clown’s language became a mix of all the words I learned on my travels, a
“grammelot” of Euro-Asia-speak that allowed me to have fun with my
frustration (and had the crowd wondering where the heck this clown was
from).
Developing new work from an emotion or energy such as pride,
confusion, joy, curiosity, etc., can help get a flow started; you then search
for a role, a task, props, or a setting, that allow you to find degrees of that
energy and ways to express it. The emotion creates an instant connection to
an audience: they all know how you feel, and they’ll delight in watching how
the world you create heightens or alters that base energy. You can explore
Devising for Clown and Physical Comedy 251
various levels of that energy—confidence turns to pride, pride becomes

vanity, vanity becomes ridiculously pretentious—and how that base energy
might transition to other emotions. For example, in my solo show, the
frustration gives way to pleasure, then to a goofy pride as the clown manages
to create a meal for the audience right before their eyes, despite all his
difficulties.
Choose a Setting
Putting a clown in an office, a kitchen, a house that needs redecorating, a
busy restaurant, a shop that sells clothes, etc., gives them not only props to
play with, but an atmosphere that the clown’s energy can alter and disrupt.
A familiar setting will suggest actions everyone recognizes and will get the
players acting out those tasks right away; variations and alterations are more
easily discovered through play because everyone has something to do right
from the start.
Choose a Prop
Working with an object can lead a player into a rich and playful world
that she never knew existed. I once gave a student a mop and told her to go
play with it for an hour. She hemmed and hawed, complained that it was
just a mop: how was she going to discover how to clown with a cleaning
tool?! But I refused to answer her questions until the hour of play was over.
Fifteen minutes in, she began to make discoveries. After an hour, she wanted
to keep playing. She added a bucket, she found a white bouffant wig that
looked like a well-coiffed version of the mop, a dress that echoed both. We
exchanged the wooden handle for a two-and-a-half-meter length of PVC:
the mop head entered first, then the long white pole against the black curtain,
building curiosity for her clown’s entrance, with her high blonde hair, her
billowy white dress, and her orange-tan work boots. She found play with the
bendy pole, created a short dance, and found slapstick comedy as she
mopped the floor. She even discovered an extended game that had the
audience cheering her on as she stuck the handle between her knees and
tried to lift the long bendy pole with the heavy mop head high into the air,
drop it into the bucket, then lift both back in the air while crawling off stage
on her back.
Props can be chosen because you want to display a skill—balance a
broom, spin a plate, turn a plunger into a diablo, do acrobatics with a chair.
Figure 14.3 Windy Wynazz

flexes her mop. Photo credit: Eric
Or a prop might solve a problem: I chose to play with a ladder for a solo
street show because it allowed for large, standing crowds to see what I was
doing as I climbed higher up the rungs. The ladder also offered me plenty of
opportunities for slapstick-acrobatic play. You might choose to wear a coat
because you realize you can turn it into a bed, a puppet, a magic cape to
conceal and reveal a trick. Audiences are tickled, challenged, and inspired by
how clowns transform mundane objects into something new, how they
create imaginative play and whole new worlds out of props taken for granted
or barely noticed. Props are excellent tools to start with when devising new
material.
Narrative, Plot, Arc, Through Line

You’ve chosen a jumping off point—role, energy, setting, or prop—and
you’ve played a bit. Now you have to find an arc, a through line, a story that
takes the audience on a journey. Here are some things to consider as you try
to shape your play into a performance that keeps the audience curious,
intrigued, and engaged.
Find the Flow

The real work in creating a show for an audience is weaving all the elements
together so they end up belonging to the same world, stylistically and
energetically. It doesn’t mean there can’t be moments of absurdity, things
that come out of left field; what you’re aiming for is a flow so that even if
there is an abrupt shift, the audience stays with you. Flow rarely comes right
away: assemble what you need to tell your story, play with your ideas on your
feet, decide on a structure or sequence, and try to get a feel for how everything
flows together so you don’t lose or confuse the audience in the transitions or
shifts in energy and play. Whether your story is easily understood, is a series
of odd, disconnected events, or a mash up of skills and comic bits, it all
comes down to timing, pace, and changes in tempo. Find the flow.
Make it Personal
Connect your act to something you care about, a beloved hobby or activity.
Or something that irritates, frustrates or angers you. Utilize the emotions
that these things inspire: your personal investment will carry over to the
audience. They will sense your passion and feed on it, they’ll want to share
in it.
Embrace the Struggle

Build a scene out of a series of obstacles and your interaction with them in
order to develop suspense, tension, empathy. Get the audience rooting for
you! Find out what the clown is good at and comfortable with. Now, throw
the polar opposite at her. Challenge her. Make her uncomfortable. How does
the clown respond? This helps give an act or scene dimension, depth.
Create a Map
Think of your act or scene as a series of pictures that show the beginning, the
middle (a series of actions and obstacles, causes and effects), and the ending.
What images or tableaux would you choose to tell the story, generate
curiosity, excitement? Use these tableaux as a way to block out the scene
physically and visually and get everyone moving right away. This is what I
call mapping. It’s not only for the sake of the story but for safety: physical
comedy often includes movement that is athletic and, when working in
groups, care must be taken that the players don’t run into one another.
Mapping helps create safe traffic patterns: the players know where they enter
from, how they move onstage, and where they exit to. They’ll feel safer as
they progress and start to develop the map; it gives them a structure to build
on right from the start.
Bits and Pieces

Consider building the show in increments: find a costume you can play in,
nose and makeup if you wish, gather a few props you can carry on you or in
a bag, find an event with a meandering crowd—anything from a festival to
people standing in line waiting—and do what’s called a “walk act.” You roam
through the crowd, interacting with them, creating short moments of play
then moving on. This allows you to discover your way of playing with a
live audience, gives you a chance to develop comic business, and find what
plays well between you and the public, without the pressure of presenting a
show of all new material all at once. As you accumulate ideas and ways of
connecting with the crowd, you can then incorporate these into a longer,
stationary performance. I’ve used this way of working for many of my shows
and most performers I know have explored a similar method, trying things
out and building a longer show from an accumulation of bits and pieces
they’ve worked in front of an audience.
Go with the Obvious

Get your obvious, lame ideas out in the open—verbalize them, act them
out—and groan at them, enjoy the clichés, the easy answers. Keep at it until
you exhaust the obvious: you might then find something original, or a way
to twist the obvious to create an unexpected climax, a surprise ending; let the
audience think they know where you’re going and then throw a curveball.
Likes and Dislikes

What do you not want to do? Make a list. This may help with the flow of
ideas. Better yet, you may find a gem in your pile of dislikes. Study a movie,
a scene in a play, a clown act, stories you like, and ones you don’t. Why do you
like it? Define the reasons. How would you change what you don’t like,
reinvent it in your own way? Can you comprehend the structure of a piece,
how it draws you in, keeps you engaged? Articulate and define how it moves
you (and how it doesn’t) and why. Something that provokes you in a positive
or negative way can be used as a jumping off point to develop your own

story while giving you an emotional connection to it.
Study
Become a student of comedy. Devour books about comedians, read anything
with the words laughter, funny, wit, humour, comic, clown, fool, jokes, etc., in
the title. Watch silent films and study how they use movement, gestures and
facial expressions to tell a story. Or watch a talkie film with the sound off: can
you follow the story through the visuals alone? Get into conversations with
taxi drivers, lawyers, cops, bouncers and bartenders, housewives, truck
drivers, nurses, etc. Could you create a clown piece based on their stories,
their jobs? Study paintings and photographs: how do the pictorial elements
cause your eye to travel around what’s in the frame, how do they tell a story
in a single image? Write down your dreams. Write down bits from random
conversations. Open up to the rarely noticed world, the play of light and
shadow when the sun comes through the trees, gives shape to clouds, dances
across water. There’s comedy happening everywhere: The clown desires to
point it out and play with it (see Jacque Tati’s Playtime).
Respect the Elders

When you study clowns and comedians from the past you’re bound to find
ones that you don’t find funny at all. You may wonder why the audience is
laughing when the clowns’ antics barely raise a smile in you. This is when
you must be a student not a critic: behind most every joke, comic bit or gag
is a technique, a formula, a method that can be discerned if you study it
closely. Watching as a student, ask yourself why is the audience laughing? Is
it because the comedian surprises their audience with a sudden reveal of the
punchline, or does the laugh come because they build up to it slowly, drawing
the audience in bit by bit? Do the clowns get a laugh by playing broadly,
satirizing through exaggeration? Or perhaps it’s the contrast between two
clowns engaging in acrobatic physical play, while one sits calmly watching
and commenting. Is it the comedian’s timing: compare the fast-talking frenzy
of Robin Williams with the deadpan, near monotone, of Stephen Wright.
Underneath all comedy—even humor that feels dated to you and not funny
at all—are ways of playing with an audience that are universal and timeless.
Look closely and you will find that modern clowns and comedians are using
some of the same methods to generate laughs as people from the 16th
century (take a look at the scenarios of the commedia dell’arte and those of
TV sitcoms). Study and learn from the elders, the past masters. Adopt their
techniques, formulas, and methods and see if you can use them to generate
laughter from your audience.
Borrow, Purloin, Transcend

Every artist borrows and pilfers ideas and bits, but you should aim to
transform and transcend never imitate. Someone else’s idea can get you
started but through your own efforts you apply your personal alchemy and
make it uniquely yours.
Technique, Commitment, Tactics, Story

Create shows that combine all four in order to find a balance; don’t let any one
thing dominate but rather create a piece where they all work together to create
a unique world onstage (see Challenges and Obstacles pgs. 20–23).
Use the Clock

Create a two-minute piece. Now do the same piece in one minute. Thirty
seconds, fifteen (see Speed Tasking pg. 126). Get off the stage when your time
is up. Use the clock to trim your piece down to its essentials, learn what’s
superfluous, stops the flow. Let the clock be a benign dictator. Use it to learn
where you need to speed up and slow down, what needs to be emphasized,
what needs to be cut. The clock is one of your most valuable allies. Respect
it. Once you pare your piece down to its strongest moments, then consider
expanding and embellishing. Or keep it lean, spare.
Build Bridges
In my early years devising new work I noticed the change in my energy as I
went from hanging around with my fellow players in the green room to
stepping backstage and getting ready, and then how different I was when I
stood in the wings waiting to enter the stage. Accidentally stumbling on my
entrance changed the way the audience perceived me when I hit my spot
onstage to perform my act, and how I was suddenly a different person as
I stood there in the spotlight. I’d go into my act, fully committed to what I
was doing, the audience totally engaged! . . . And then someone would drop
something backstage and the crowd would turn their heads towards the sound.
Or a person in the front row would sneeze, distracting everyone. At first, I was
put off by these interruptions, but the more experience I gained from playing
in front of a crowd, the more I embraced everything that happened when
performing live. The more attuned I became to the crowd’s responses, the more
I realized that each mistake, each distraction, was simply an attempt by other
worlds, other realities, to join in the play. I could choose to ignore them, I could
acknowledge the interruptions with a brief look, or I could integrate these
offers into what I was doing and welcome them to join my show.
From these experiences, I understood how a clown could build bridges
between realities: the person just hanging out, the person getting ready, the
player waiting to go on, who he is as he enters, as he presents, as he exits (see
Backstage Butting In, pgs. 113–116). And how to use the different realities of the
audience as well: as they enter, get ready, engage with the players, get distracted . . .
The playful mind of the clown stays attentive to all these worlds and seeks to
build bridges between them. This means embracing accidents, mistakes, failures,
the unexpected—even the annoying. In my own work—and in the shows of
many performers that I know—at least 30 to 40 percent of their material came
about because something didn’t go according to plan either in rehearsal or in
performance. So, if a player is determined to stick to the script come what may
and ignore all unexpected “offers” that are bound to occur with a live audience,
then they’re cutting themselves off from a vast amount of great material.
Endings are Hard

Write out five (or more) endings. Get on your feet, play your act or scene, try
an ending then start again from a different angle. End that and try another
approach. Endings are rarely obvious. They require continuous attempts,
feints, direct attacks, experiments, leaps of the imagination, searching for
clues to the end from what has gone before. If you can’t find a strong ending,
perhaps you need to change your set up. Be willing to abandon even the
most brilliant beginning if you can’t find an equally brilliant ending.
Ensemble Devising: Developing

Group Entrées, Scenes, and Routines
Ensembles can use some of the same starting-off points as solos, duos or trios,
but a larger group will devise new work with slightly different approaches.
Games
One way to begin the development of group routines or scenes is by using
games. This is better than simply assigning roles: the games can give the
ensemble realistic insights into individual tendencies as well as the group
dynamic, challenging the ensemble to be more honest in their play.
Roles
What roles or ways of playing do individuals naturally gravitate towards? What
roles or ways of playing does the group naturally gravitate towards?
When creating original material, consider using these discoveries rather than
imposing roles. This will encourage the players to more fully express themselves.
The group can then expand on this, lift it beyond the personal to the universal,
while it remains grounded in, has its source from, the realities of a particular
group of people.
Actions
Ultimately, it’s not what the group does but how they do it that’s most interesting.
A skill can be impressive, a scene cleverly written, but it’s living, breathing human
beings—and the interplay between them—that’s enticing to the audience. The
games can help by making that interplay more authentic and dynamic.
Setting
Choose a setting—a bus stop, a restaurant, a laundromat, etc.—and play a
game—for example Tag, Racing, or Chair Games—within this setting to see
what it encourages. Add costumes, props, set pieces. In the beginning, keep
the setting and props simple: what’s most important is discovering the group
dynamic within a particular environment (how they act in an office will be
different from how they act at a sporting event).
Relationships
What’s discovered when playing games may not only reveal relationships
within the group, it can also determine the routine or scene; the devised
piece becomes an expression of the group’s relationships discovered through
play. Utilizing skills, costumes, props, physical play, energies, alliances,
oppositions, and obstacles, the group tells their story.
Switching
As roles are established, try switching the players to see how they might play
a role differently. It will generate new ideas and new ways to approach a
situation. Changing roles and status within the group can help your partners
find new ways of relating to you; you can play the switched role as you
perceive it or try imitating what your partner did when you take on their
role. Help them see themselves through your eyes.
Writing
Let the piece evolve using the discoveries the group makes while on their
feet, then use the writing process to develop the structure of the play. Writing
helps give form to an act or a scene, can create an arc for the story,
strengthening the plot as it evolves through ensemble play. If the story is
non-linear, writing can help you find the best sequence, so the piece has a
good build or flow and draws the audience in. Or a scene starts with a chaos
of detail and, over time, reveals the narrative from within the mess. Writing
can help the players see the bigger picture and how to weave together ideas
and actions.
Editing
A piece borne out of the explorations of a group always starts off as complex;
everyone wants their ideas included. Allow that, but let it be known there
will be editing as the group works to simplify and clarify. Or the ensemble
can embrace the complexity: as you explore and evolve, stay aware of the
many threads you’ve laid out, and make the time to weave all the details
together, find something that has a flow, a rhythm that the audience can
connect with.
Respect
No matter how talented, creative, brilliant, or skillful you may be, recognize
that an act or scene is always a group creation with each member contributing
to a greater or lesser degree according to their strengths and their weaknesses;
since the clown can turn a weakness into a strength, everything has potential.
Dismissing someone you perceive as weak (in talent, ideas, or skills), can
blind you to what they might offer. This doesn’t mean everything should be
altered to serve a less-experienced player—it’s their responsibility to up their
game whenever possible. If the players agree to work together, deficiencies

must be acknowledged not ignored, and they must look for creative ways to
incorporate them. If each member takes it upon themselves to help each
other, it will deepen the connection and strengthen complicity within
the group. Cultivate the ability to wait, to listen, to respect each person’s
process. Every “negative” dynamic should be seen as a greater challenge for
learning.
That said, if the ensemble agrees that a player is dragging down the
process to the point where there’s no evolution, that must be honestly
addressed, and actions taken; say your goodbyes and move on.
Questions
When developing an act or scene, each member of the ensemble should keep
in mind the following questions.
● Who am I?
● Where am I?
● What do I want?
● Who do I want? What are my primary relationships? What are my
secondary ones?
● Why do I want what I want? How will I get it? What stands in my way?
What leverage do I have?
● What are my tactics for getting what I want?
● What will I do when I get what I want?
● What will I do if I don’t get what I want, or get it and lose it?
● How do I imagine myself at the end of this story, how have I changed
or not changed?
Ask these questions at the outset and keep asking them as the devised piece
evolves.
When It All Gets Too Confusing

When you feel clueless, bereft of ideas, discouraged by your frustration—like
you’ll never find an end to the process! . . . Stop. Breathe. Look around the
room you’re working in. Forget everything you’ve been struggling with; just
observe the space and what or who is in it. Adjust your ears to all the sounds
in the room, sounds that are distinct, and the general hubbub. Listen to
Figure 14.4 Sophia Knox-Miller: The balloon meditation.

Photo credit: Devin Shacket.
what’s in between: the rests, the quiet. Take it all in with no expectations
whatsoever. Practice this state of energized calm, this relaxed attentiveness.
Don’t be afraid to give the appearance of doing nothing but staring off into
space, or with your head down, studying the patterns on the knotty wood
floor. The answers are there. Sometimes you find them by not looking for
them directly.
This is another way of saying don’t limit yourself to what’s in your head.
Don’t try to evolve your show or solve a problem with your thoughts alone.
Look around: a prop can solve a problem, changing the color or size of
something can open up new possibilities, a different costume, nose or style
of makeup might alter how you affect the audience. For example, a long dress
changes the way the audience perceives you (and you perceive yourself). It
becomes a body mask that brings out a different energy. It alters—physically
and visually—even the simplest move: doing a cartwheel in a long dress
changes the nature and the visual of the cartwheel; it becomes a different
move than if you were to do it in tights or a three-piece suit. It’s simple, yet it
has the potential to lead you in a direction you wouldn’t have found if you
tried to work out everything in your head. Look for solutions and evolutions
through movement, objects, costumes, shapes, and colors, through play with
the world around you, and all that’s in it.
Not only is the creation of an original piece a process of discovering what

makes it tick, but it’s also a process of finding out what makes you tick. And
then, how does what you discover play in front of an audience? We all have
many dimensions, quite a few which we ourselves don’t see. Diving into the
creation of a piece will teach you about yourself, what you like and dislike,
what intrigues you, what brings you joy, what provokes you, and pushes you
into new territory, new worlds.
One of the reasons some clowns choose to work with tried-and-true gags
or comic formulas is because it’s easier, the process of discovery is quicker,
and the audience responds to the piece more readily because they spot the
clichés that formulaic work offers. There’s nothing wrong with using formulas
and indulging in the obvious; they make good jumping off points. But once
you leave behind the formula, go beyond the obvious, you’re on your own. If
you keep at it, it will yield material that is unique and truly yours and you’ll
discover things about yourself that you wouldn’t have if you relied only on
the usual tropes. You’ll grow as an artist and other players, afraid of trying
something different, will see what you’ve created and how you’ve made your
eccentric ideas work, see that it plays for an audience, and be inspired to take
chances and indulge their own “weird” notions. This is how an art evolves,
takes audiences in new directions, shows them that there is more to an art
form than anyone thought was possible (especially with clowning). For these
reasons, the headaches and heartaches are worth it for they seed and expand
the imaginations of other artists, and more importantly, the audience.
I encourage you to indulge in and become fascinated by the creative
process! Look upon the creation of new work as a mischievous friend that
wants to draw you out to play, turn your struggles into a puckish game that
demands you think, imagine, feel, indulge, and find your joy in the work.
And that joy is the ultimate goal. Loving what you do is the source of all
creativity. It keeps you going when things are difficult, blesses you with
inspiration, and extends itself outwards to your audience, inspiring
connection and complicity.
So, here’s to your play and your joy.
Bibliography
Here are titles on the history of clowning, clowns in other cultures, comic
archetypes, and critical analyses of various aspects of comedy and the comic
spirit. These books have informed my own understanding and approach to
clown and physical comedy.
Bakhtin, M. (1965), Rabelais and His World, Bloomington, IN : Indiana

University Press.
Barker, C. (1977), Theater Games, London: Methuen Drama
Barron, F., Montuori, A., and Barron, A. (1997), Creators on Creating, New York:
G.P. Putnam.
Bergson, H. (1900), Laughter, New York: Atropos Press
Berman, M. (1989), Coming to Our Senses, London: Unwin Hyman Limited.
Boal, A. (2002), Games for Actors and Non-Actors, London: Routledge Group/
Taylor & Francis.
Caputi, J. (1978), Buffo, Detroit, MI : Wayne State University Press.
Cline, P. (1984), Fools, Clowns and Jesters, La Jolla: Star & Elephant.
Conrad Hyers, M. (1973), Zen & the Comic Spirit, Louisville, KY: Westminster
John Knox Press.
D’haeyere, H. (n.d.) Dislexicon, MER Paper, Kunsthalle Ghent.
Davison, J. (2013), Clown: Readings in Theatre Practice, London: Palgrave
Macmillan
Disher, W. (1985), Clowns and Pantomimes, Boston: Houghton Mifflin
Company.
Eastman, M. (1936), Enjoyment of Laughter, New York: Simon & Schuster.
Ehrenreich, B. (2006), Dancing in the Streets: A History of Collective Joy,
New York: Metropolitan Books/Henry Holt and Company.
Erasmus, D. (2007), In Praise of Folly, London: Penguin Classics.
Fluegelman, A. (1978), The New Games Book, San Francisco, CA : The
Headlands Press.
Harkonen, H. B. (1970), Circuses and Fairs in Art, Minneapolis, MI : Learner
Publications,
Hugill, B. (1980), Bring on the Clowns, Exeter, UK : David & Charles Ltd.
Hyde, L. (2008), Trickster Makes This World, New York, NY: Farrar, Straus and
Giroux Books.
263
264 Bibliography
Jenkins, R. (1989), Acrobats of the Soul, New York: Theatre Communications

Group Inc.
Johnston, C. (2000), The Improvisation Game, London: Nick Hern Books.
Johnston, K. (2012), Impro: Improvisation and the Theater, London: Methuen
Drama.
Keaton, B. (2015), My Wonderful World of Slapstick, Boston, MA : De Capo Press.
Kerr, W. (1990), The Silent Clowns, New York: Alfred A. Knopf.
Lane, L. (1972), How to Become a Comedian, London: F Muller Ltd.
Lee, J. (1996), The History of Clowns for Beginners, New York: Writers and
Readers Publishing, Inc.
Madden, D. (1975), Harlequins Stick, Charlie’s Cane, Madison, WI : Popular
Press.
Mason, B. (1992), Street Theater and Other Outdoor Performance, London:
Routledge.
McConnell Stott, A. (2010), The Pantomime Life of Joseph Grimaldi, Edinburgh:
Canongate Books.
Miller, H. (1953), The Smile at the Foot of the Ladder, New York: New
Directions Publishing Corporation.
Moore, T. (1994), Care of the Soul and Soulmates, London: Piatkus/Little, Brown.
Nisker, W. (2008), Crazy Wisdom, Berkeley, CA : Ten Speed Press.
Radin, P. (1972), The Trickster, New York: Schocken Books.
Rider Robinson, D. (1999), The Physical Comedy Handbook, Portsmouth, NH :
Heinemann.
Spolin, V. (1999), Improvisation for the Theater, Evanston, IL : Northwestern
University Press
Staveacre, T. (1987), Slapstick! The Illustrated Story of Knoackabout Comedy,
London: Angus & Robertson Publishers.
Steinman, L. (1995), The Knowing Body, Boston, MA : Shambhala.
Tayor, R. (1987), The Death and Resurrection Show, London: Muller, Blond
& White Ltd.
Towsen, J. (1976), Clowns, Boston, MA : EP Dutton.
Watteau, A. (1957), Grock, King of Clowns, London: Methuen
Welsford, E. (1935), The Fool: His Social and Literary History, London: Faber
& Faber.
Willeford, W. (1969), The Fool and His Scepter, Evanston, IL : Northwestern
University Press.
Wright, J. (2007), Why is That So Funny? A Practical Exploration of Physical
Comedy, London: Nick Hern Books.
A lot of material can be found by looking up books or articles on play, games,

circus, street theater, masks, and anything written by professional clowns or
comedians. Look up your favorites.
Bibliography 265
Other fascinating studies include books or articles on Native American

and aboriginal clowns/tricksters, sacred or holy fools, puppetry, the comic
archetype in other cultures, religions and mythologies, circus, commedia
dell’arte, and freak or sideshows. Besides giving you ideas for routines and
ways of approaching new work, these books help you realize that in practising
the art of clowning you are part of a long and global tradition.
Inspirations
The games and exercises in this book were introduced to me by various

sources over a thirty-five-year period. Teachers or authors listed below may
not be the originators of the games, but the person from whom I first heard
about it. Games listed as “known theater games” have been used in various
forms by a number of theater practitioners I’ve met over the years, so it’s
hard to say who’s the originator. I’ve also been inspired by my students and
fellow clowns whose play has helped develop many of the variations in this
book.
1 Hello: A Pharmacist, Helium

Balloons, and a Red Nose
Hello!: Some of these variations I developed, others were inspired by known
theater or children’s games.
Birds and bees: I came up with this game as a way to get the players moving
and warmed up.
Group loco motion: I developed Feet First as a way for students to work their
entire body while walking or running. Walking the Dictionary was inspired
by the dictionary. The other variations come from known theater, dance or
movement exercises.
Groups and agreements: These variations are known improv games with
some tweaks added.
The five commandments: I first learned this from my Associate Director at
Clown Conservatory, Dan Griffiths. I developed variations to add complexity
and get the players to focus more acutely on listening and responding.
Wait, watch, jump, play: Watch and wait was inspired by director, dramatist,
author, and teacher Augusto Boal. I developed Hop HA! as a variation on a
movement exercise (source unknown). Who’s Got Game was inspired by
writer, director and teacher, John Wright.
267
268 Inspirations
2 Energy: The Telepathic

Renaissance Fool
Walk this way: Inspired by a movement exercise I learned at the Dell’Arte
school first shown to me by Bruce Marrs.
Chase me, tag me: These variations were inspired by known children’s
games.
The solo and the ensemble: These variations were inspired by Augusto Boal
with some tweaks added.
Chair games: Caller in the Middle and Numbered Chairs were inspired by
theater-maker and author Chris Johnston; I added variations to increase the
level of physical play. I developed Chair Race with a group of Chinese clowns
to get them working together physically without having to focus on acrobatic
skill.
Races: Slow motion racing is a known theater game. I added the cheating
and relay race variations. The races using paper were inspired by Chris
Johnston.
Relax: Both variations were introduced to me by Ralph Hall at the Dell’Arte

School.
3 The Talking Body: Silence on

the Streets
Dance! I invented these variations as a way to get the players to improvise
movement, warm up their bodies, and play together physically, inspired by
music.
Playing with the breath: These variations were inspired by Augusto Boal
with some tweaks added.
Where’s my center? The first five variations are known movement exercises
with some alterations added by me. Stone Overhead was learned from John
Wright. I created The Threat to explore how using fear as a center outside the
body would affect a player’s actions.
Sculptures: These variations are drawn from known movement exercises

with variations added by me.
Inspirations 269
The body mask: These are drawn from known movement exercises with
clown-related variations added by me.
Visualization: Initially inspired by Ringling Bros. and Barnum & Bailey

veteran circus clown Frosty Little, some variations are drawn from known
movement exercises.
The five elements: Based on my reading of a number of theater and

dance practitioners such as Vsevolod Meyerhold, Peter Brook, and Doris
Humphrey, I developed the Five Elements to teach an awareness of space,
movement and how to use that to reveal the clown and develop and enhance
an act.
Looking out: I’ve had long conversations with various clown practitioners
over the years about how to use the eyes. These variations were developed by
me as a response to these debates.
4 Prop Play: The Prop Whisperer

Prop around: Some of these variations are known games for teaching circus
skills, others I invented to get the players to use props to focus on ensemble
play and movement.
Prop improv: I developed this list on using props to help the players
clarify the ways they could use objects in both improv sessions and to create
scenes.
Prop me: The inspiration for this exercise was Vanna White, who used to
gesture with such poise and pleasure at the prizes contestants could win on
the game show Wheel of Fortune. These variations were created to get the
players to give value to their props.
Props and status: These variations were developed by me and are a

combination of improv games, puppetry techniques and prop play inspired
by my own performance work.
5 Curiosity: Odd Fellows

Space odyssey: These variations came out of my own explorations as a
performer and director seeking to make use of spaces that were not designed
as theaters.
270 Inspirations
Look, see, react: A “take” is a classic comic technique. I developed these

variations as a way of exploring takes with students and helping them realize
the potential of giving focus to something physically.
In and out: I’m a big fan of a great entrance and its potential for both
introducing a clown as well as being used as a running gag (see Michael
Richardson as Kramer in Seinfeld). This exercise was developed by me from
known theater exercises to explore entrances and exits and how to use them
effectively.
Listen: These variations were inspired by my experiences working in street

theater where I had to listen with an almost radar-like intensity in order to
stay on top of the sometimes uncontrollable environment of a street show.
Backstage butting in: I developed these variations not only to teach students
how to use distractions, but also to explore the potential of the invisible
spaces in any performance venue.
6 Clown Solos: Catching a Salad on

Your Face
Pass it around: I created the variations, Silly Sound and Silly Walk to loosen
up the players. Big Gesture, Big Sound was inspired by Keith Johnstone, author
of Impro. The mirroring and reaction exercises were created to teach students
clarity and truly sharing moments with their partners.
The real thing: I developed these variations as a way to get students to ground
their actions in something real before expanding them into clown play.
The participating audience: Reactions was inspired by Chris Johnston;

Substitute is a known theater game. Love-Hate, The Fail, and The Bounce were
inspired by my own experiences with hecklers, and explorations into the
effect failing in front of an audience has on their perception of a routine and
the performer.
7 Clown Duos: The Wet Towel

Intervention
Remember me: Some of these variations I developed, others were inspired
by known theater games.
Inspirations 271
Pushers: Some of these variations I developed, others were inspired by

Augusto Boal.
Mind leading the blind: Blind Finger was inspired by John Wright. The other
variations are known theater games with tweaks added.
Followed: I developed My Companion after watching silent film comedians

follow—or be followed by—their partners or their rivals. Following Fool is a
classic bit of clown business. I created Energies as a way to explore the concept
of the clown as energy. Juxtapose came about from watching two players
rehearse their acts while standing next to one another, but totally focused on
their own work.
Match my mood: I developed this exercise as a way of getting duos to work

with clown as energy.
The big wind up: This was inspired by watching Jackie Gleason growing
more agitated as Art Carney stalled and goofed around before carrying out a
task on the classic TV show The Honeymooners.
Surprise, surprise: I developed this exercise as a combination of duo play

and prop exploration.
Embrace: This was introduced to me by Ralph Hall at the Dell’Arte

School.
8 Clown Trios: Boss, Negotiator,

Fool
Get rhythm: I developed this exercise to increase the players’ ability to listen
to one another, to create movement and sound play, and to generate eccentric
ways of communicating in scenes.
Paper and balloons: These are variations of known team-building

exercises.
Thumbs: I developed this exercise as a way to get trios to improvise to solve

a problem while listening acutely to the audience.
Follow your leader: When I first saw the Canadian clown duo Mump and
Smoot, I enjoyed how the lower-status Smoot would constantly keep his eyes
on Mump to see how he would react, like a puppy who pays close attention
to his master for signs of affection, reprimand, or just out of curiosity. This
exercise was partly inspired by them.
272 Inspirations
Status snapshots: I developed these variations based on known theater

games to get students to include the use of props when exploring status
relationships.
Get up: This is based on the old clown gag of clowns fighting over who gets
to sit in a chair.
Top that: This was inspired by my work with Los Payasos Mendigos, the mock
challenges we used to set up for each other, and the status play between us.
Down the line: This came from my studies of clown trios and their status
play.
9 Clown Ensembles: Fractious Fun

All together now: These are known movement and acrobatic games with
tweaks added.
Follow along: Some variations were invented by me; others are alterations of
known theater games.
Follow me: These variations were inspired by Augusto Boal with some tweaks
added.
Support staff: Source unknown.
Caretakers: Inspired by the work of director and author, Alison Hodge.
Eh? Oh: I developed these variations as a way of exploring group movement

and status.
Add on: Inspired by known theater games.
Run, stop, relax: Some of these variations I developed, others were inspired
by John Wright.
Revealing: I developed these variations to explore the solo artist within an

ensemble.
Misfits and master; chips and stick: I developed these variations as a way of
exploring group movement, improv, and status in relation to clown and
bouffon.
The ridiculous ensemble: I developed this based on a game introduced to

me by John Wright.
Inspirations 273
10 The Rules, the Script, the

Game, the Play: Welcome to the
Playroom
The evolution of a game: The starting point for this was a well-known
children’s game. The knife variation was introduced to me by former Pickle
Circus clown Geoff Hoyle. I developed the other variations through my work
with various students over the years.
Tail, tag, scene: I used a well-known children’s game as a way to explore

combining active play with a scene.
Scene tricks: These variations were inspired by my work editing films.
Prop journey: These variations were inspired by my work with students at

Dell’Arte International.
Blindfolded experts: Originally inspired by a Violin Spolin exercise from

her book, Improvisation for the Theater, I altered it to serve my explorations
in clown, slapstick, and improv.
Index
Abbotts of Unreason xvii, 47–49, 63, clown costume 2–3, 231–232

157–158 clown dancing 65–67, 211–212, 236
accidents, importance of 21, 24–25 clown, definition of 2, 16–18
acrobatics/tumbling 237, 240–241 clown duo 137–155
Arlecchino 3 clown essentials 12–13, 19–26
audience participation 111–113, clown groups/ensembles 181–204
128–131, 165–166 clown makeup/mask 1–6, 30, 225–231
auguste clown 3, 10–11, 226–227 clown nose 229–231
Avner the Eccentric 3, 88 clown partners 14, 137–155
clown routines writing/editing 13, 15,
backstage, using the 113–116 19–26, 123–128, 259
balls, games with 89–91, 217–218 clown skills 235–241
blindfolds, working with 142–144, clown solo 119–134
191–193, 217–222 clown traditions/history/influences
body language 17–18 15–16, 226–227, 255–256
body mask/sculpture 5–6, 71–74 clown trio 157–178
Boss Clown 11–12, 138, 159–160, clown/character walks 34–37, 49–50, 122
199–202 collaborating xx, 11, 24–25, 142, 208–213
Boss, Negotiator, Fool 11, 157–161 commedia dell’arte 2–3, 255–256
bouffon 199–202, 231 commitment 20, 23, 256
breath, using the 67–68 competition 15, 25–26, 50–52, 54–59,
Byland, Pierre 229 140–141, 163–165, 208–213
complicité/complicity 31–32, 40, 43–45,
Carl, George 88 48–49, 52–54, 59–60, 121, 204
centering 68–70 curiosity, the importance of 4–7, 12, 23,
chair games 54–56, 170–171 105–109
Chaplin, Charlie 21, 35, 88
character clown 3 Dell’Arte School/International 101–104
child’s play 5, 18 devising xx–xxi, 6–7, 18–26, 60, 124–128,
clown as energy 4–7, 20, 25–26, 30, 195–196, 198–204, 207–232, 243–247,
49–60, 146–150, 250–251 249–262
clown as storyteller 21–22, 195–196, Director and Clown 26
203–204 discovery moment 23, 105–109, 256
clown as troublemaker 6, 11–12,
196–197, 199–202 ensemble, developing of 32–45, 59–60,
Clown Conservatory, San Francisco xx 181–204
275
276 Index
ensemble movement 33–39, 52–54, nakupelle 64, 87–88, 235, 238

64–68, 74–76, 182–186, 188–193,
195–199 personal clown 18
entering/exiting 23, 76–80, 105–113 physical comedy/acting 63–85, 121–123,
eye contact/using the eyes 80–84, 193–204
105–109, 173–174 physical warm up 33–39, 42–43, 49- 59,
65–67, 140–142, 182–184
face, using the 123–124 physical/visual play 17–18, 22–23, 87–98,
failure/accidents/obstacles 20–21, 23–26, 121–123, 235–241
131–133, 217–222 play, definition of 4–5
Five Elements 76–84 playful mind xxi, 4–5, 7, 25–26,
following/shadowing 144–150, 166–167 207–232
Fratellini, Albert 3, 226 playing it for real 124–128, 137–139,
157–159, 227, 246, 256
games, how to play 25–26 Polunin, Slava 3
games, using in scenes 208–213 prop play 87–99, 113–115, 152–153,
Gaulier, Phillipe 15, 229 163–165, 171–177, 215–217,
Griebling, Otto 3 251–252
Grimaldi, Joseph 3, 226 props, ways to use 92–93
puppetry, techniques 87–98
Hanneford, Edwin “Poodles” 235
realities, player’s/audience’s 256–257
Irwin, Bill 3, 88 relaxation 59–60, 154
rhythm games 161–163
Jacobs, Lou 3, 228 Ringling Bros. and Barnum & Bailey
2–3, 11, 15, 74, 150, 157
Keaton, Buster 88 rules, setting/bending/breaking 12, 15,
Kelly, Emmet 3, 227 25–26, 31, 207–208
Lecoq, Jacques 15, 238 scene tricks 211–215

lesson planning 13, 15, 31, 207–208 Shakespeare’s Globe 120
listening 111–113, 161–163, 193–195 skills 235–241
Little, Frosty 74 slapstick 21, 237–240
Los Payasos Mendigos 63, 157–158, slow motion, using 57, 121, 214
181, 248 sound, effects/using 214–215
space, using the 101–105, 109–117,
makeup 2–3, 225–229 167–169
mime 236–237 speed changes 214
minimum-to-MAXIMUM 150–152, stand-up comedy 17–18
215 status 12, 21, 96–99, 157–161, 167–169,
mirroring exercises 71–72, 144–150, 154, 171–177, 193–195
166–167, 185 street theatre 63–65, 120
Mischief Theatre 238 success/the right way xx–xxi,
music 236 24–26, 207
Index 277
tactics 20–21 visualization 74–76

takes, head/body 105–109 vocal/verbal games 32, 122,
Tati, Jacques 88, 255 193–195
teaching methods xx, xxi, 10–12, 15, 31,
207–208 Washerwomen clown gag 137–139
technique 20, 23, 64–65, 68–71 Whiteface 3, 10–11, 226–227
time, playing with 13–15, 124–128, Williams, Robin 255
256 Wright, Stephen 255
Tramp clown 3, 227
transformation 12 zanni 2

Joe Dieffenbacher - Clown - The Physical Comedian-Methuen Drama (2021)

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Clown

Figure 0.1 Author Joe

Joe Dieﬀenbacher is a teacher, director, actor, designer, and author known

First published in Great Britain 2021

Copyright © Joe Dieffenbacher, 2021

Cover design: Eleanor Rose

Library of Congress Cataloging-in-Publication Data

Names: Dieffenbacher, Joe, author.

ISBN: HB: 978-1-3501-4309-8

Typeset by RefineCatch Limited, Bungay, Suffolk

List of Illustrations xiv

Challenges and Obstacles 19

1 Hello: A Pharmacist, Helium Balloons, and

Group Loco Motion 34

2 Energy: The Telepathic Renaissance Fool 47

3 The Talking Body: Silence on the

4 Prop Play: The Prop Whisperer 87

5 Curiosity: Odd Fellows 101

6 Clown Solos: Catching a Salad on Your

7 Clown Duos: The Wet Towel Intervention 137

8 Clown Trios: Boss, Negotiator, Fool 157

9 Clown Ensembles: Fractious Fun 181

10 The Rules, the Script, the Game, the Play:

11 The Mask of the Clown 225

12 The Skillful Clown 235

13 Getting Serious About Your Funny 243

Make Progress Through Play 245

14 Devising for Clown and Physical Comedy 249

0.1 Author Joe Dieﬀenbacher ii

Christian Schneider, Windy Wynazz, Barbara Gonzalez,

Figure 0.2 Joe

process transformed into performance material, so it’s crucial that players

players, playwright, director, designers, and audience—on a journey. This

Figure 0.4 The author

Games teach the fundamentals of clowning in a less structured way and

3 Spontaneity and the welcoming of accidents.

Figure 0.5 Paul Philion

developing it. A dispassionate dictator like the clock has no opinion or

Figure 0.6 Clowns Tommy Toxic, Sydney Schwindt, Andrew Pulkrabek,

Python troupe, Steve Coogan and Rowan Atkinson, as well as stand-up

Does it move on a straight trajectory to a crescendo? Or descend from a high

Entrances and Exits—Discovery

The Right Way

Failure as a Choice, Accident as an

The Ever-Changing Game

and their own feelings about competition and correctness, creating an

The Director and the Clown

A Pharmacist, Helium Balloons, and

Figure 1.2 The author’s

ensemble. They encourage complicité and, most importantly, they introduce

David It’s you!

BIRDS AND BEES

Variation 3—Duck! Goose! Sparrow! Bees! Same as Variation 2, but as the

GROUP LOCO MOTION

Lurch Move suddenly in various directions as if unable to control your

Variation 3—Size Always walking forwards, the players take up as much

of energy—sideways, backwards, turns, length and speed of stride, jump,

Variation 8—Stop and drop Same as Variation 7, but when a Blocker

GROUPS AND AGREEMENTS