This lighthearted list is a work in progress. These principles are in no way intended as a complete approach and as listed here, they will make more sense for people who have taken part in a workshop already and know my thoughts on the importance of rhythm in Clown and comedy work:
A key principle at the very start:
Create the Conditions for Comedy – think about how circuses would always play music with the tempo of a happy heartbeat as the crowd entered the tent
Charm – ‘Where does a laugh start? In the eyes.’ (Philippe Gaulier). Before they laugh, you need to be watchable, and charm their both their attention and their breathing
Create Communion – Casting the net helps (this makes sense when you have done a workshop with me but you can also look at the post on 31 January)
Clarity – was your gag / idea / execution / voice Clear enough? (Comedy needs to be delivered well)
Contrast – one of the most basic building bricks of Comedy - things were one way and now they are another way, surprise!
Contact – with audience, with Co-performers – light, flexible, agile, open-minded Contact keeps you Connected (see Complicité also - many articles have been written about or including reference to Complicité like this one )
Commune – an aspect of Contact and Community. Remember that the Clown also likes to Commune with inanimate objects
Complicité – a useful Concept well known by Philippe Gaulier graduates
Cumulative – laughter is cumulative – I discovered that if I missed a laugh in a building gag in performance, the laughter at the final punch was not as high as it usually was (see my earlier post on Laughter)
Cap the gag - do you have a few actions you found in improvising? make sure the one with the bigest laugh is at the end or you risk to create a dying fall
Compassion for self – are you bracing with fear? Calm and Comfort yourself (Gaulier used to say 'sing yourself a lullaby')
Compassion for your audience – are they not laughing? rather than bracing against them - think: 'how interesting, they aren't laughing yet'. It's the Clown's job to lift the heart of the 'sad normals'. Love them. Interest yourself in how to lift their hearts.
Carry on – after a failure (and its aCknowledgement), do something else – a big soft burst of elastic energy can be helpful
synCopation – the bass line is the rhythm of a happy heartbeat – on top – think jazz, think tiCkle rhythm, think unprediCtable
ABC – always be Calibrating (in the play Glengarry Glennross the salesmen are taught to Always Be Closing. A way to stay present (and build awareness) is to practice calibration (measuring) – 'How were they before they laughed? how are they now? How much did they laugh? was I expecting more or less reaction? How does that make me feel? What if I do it again – calibrate the response – is it satisfyingly the same or less? How do i feel about that? What is happening with the audience now?'
Check – check the audience's reaction, their breathing, the look int heir eyes (see above)
Count – dare for the rule of three – if something goes wrong you probably either lost Contact, lost your joy, ignored a reaction form the audience, ignored an impulse inside yourself etc. Embrace the opportunity to aCknowledge the failure (it's the Clown's job to show its Humanity) and move on
aCknowledge the laugh – if a tiny seedling appeared in your garden would it be wise to ignore it, let it die?
Courage - hang in there and try to Care less - cultivate Curiousity
Charisma – Casting the net and the Lighthouse exercise help with this. You can also practice imagining a little spark about seven centimetres above your crown
Comfort and Calm – if you make an abrasive noise you may need to Comfort and Calm your audience
inClude – things your partner is doing, responses from the audience (unless you have a troublesome audience member who needs to be Calmed and Controlled – advanced stuff but sometimes you need to take Charge)
inCorporate – bring back something successful from before (known in standup as a ‘Call back’)
Confusion – can be good
Concision – Writing a Comedy sCript? Hone it! – excess words (unless they are building rhythm or creating suspense) can stop the yuks. In terms of comedic movement, make your laughter 'nudge'** clear and succinct (**note to self: I need to write a post on nudges)
Curves – movement works better using curves, and secret curves (including eye muscles) - come to a workshop to learn more
musiCality – useful generally and especially necessary in Dark Clown work
Now of course, annoyingly, some other handy Concepts do not contain C words – for example:
fixed point, rhythm, joy, élan…
sigh, it’s not a perfect world
which is exactly why we need