Many years ago, I was driving somewhere and feeling rushed. I was ahead of myself, wanting to get through the task I had been burdened with (in the days before I learned how to say no), so as to get back to things I really needed to do. I ran into a bollard. A powerful reminder of how mind and body work together and how being in synch with yourself and fully being in the present moment is optimal.
 
Every day I find fresh evidence that grounding in the body, breathing in the body, sensing in the body and using receptive seeing is key to clown work, and to all of theatre and performance work.
 
‘When you look, remember to see.’ 

One of my key teaching phrases for Clown (intended to be playful and memorable via it’s seeming tautology) is: ‘when you look, remember to see.’ This instruction (guidance) helps the clown player remain in the present moment, and to stay open to connection. If you look and see an audience are momentarily unenchanted, it is highly important to avoid ignoring it and to rush forward, hoping to achieve something in the future or (more likely) to escape the emotion that started to rise. 
If there’s been a failure* – even for a micro-beat, if you gloss over or avoid it, you are missing a connection beat. This is the clown’s job – to connect, to create community with and, ideally, within its audience.**
 
Once a clown teacher sets an exercise, they keenly look for the moment when the trainee clown is guarded, thinking ahead, or when they have suppressed an impulse – the pedagogical step then is to use the friendly coach voice or the ‘grumpy clown professor’ voice to guide or provoke the trainee clown into the moment, into their body, into their relation with the audience or into their relation to their scene partner (or all of the above).
 
I use the wonderful ‘casting the net’ exercise I learned from Alison Skilbeck. The first application is casting the net over your audience – but once learned, you can cast the net over yourself. The ‘net’ is a very efficient metaphor for where one’s attention is placed. When setting up clown pair work, I often say: Get with yourself, get with your ‘friend’ (playing partner), get with the audience (no specific order for the last two – obey the impulse / happenstance of the moment). 
 
Fay Simpson talks of the importance of being willing to encounter one’s own no-go areas (the emotions that choke us or prickle our skin or tense our shoulders or grip our guts). She advocates for exploring them (and offers a coherent methodology to do that in her book The Lucid Body). Whatever is suppressed takes effort, causes tension, blocks flow and diminishes presence. The more one has had the courage and humility to experience/ transform/integrate all they humanly are, the more they are ready to ‘portray the glory as well as the horror of life’, and the more they can bring to a scene with a co-player (and they can bring it more safely, without bringing in any tension caused by suppression) … and also, the more they can offer the audience. 
 
‘When you do, remember to be.’

A few years ago, impulse brought me another teaching phrase: ‘when you do, remember to be.’
 
I opened Viola Spolin’s book ‘Theatre Games for the Lone Actor’. When I read, on page 18: ‘Feel your skull with your skull!’ I entered an altered state. Sensing the body is an act of dedicating your awareness. It’s an act of imagination and an act of faith (‘but I can’t feel my skull!’) as well as a sensory practice. It’s an investment. An actor with dyspraxia recently shared that at the beginning of their journey of actor training, they had not believed that ‘feeling their body’ was possible, but through practice, they came to appreciate the abundant gifts that investment brought to them as a performer and as a person. 
 
You are doing the exercise - but are you doing it in your head and are you forgetting the body? Are you able to lower your centre of gravity (even when playing high excitement)? Are you viewing the world in a blur, or can you still see your scene partner and sense or see the audience? Are you in panic or over-excitable mode and unable to even notice that your breath is shallow and unresourced and that you need to ground and feel?

Opening up the no-go areas
 
Dina Glouberman offers a metholodogy for people to get present to blockages by inviting in a metaphor. The metaphor enables a psycho-physical state to become viewable, open to dialogue and it is truly amazing how you can gain perspective and transform it. Dina always encourages the new image to be danced – so that new state is now worked through the body and its energies.
 
Arnold Mindell has a process for working with a symptom. You identify a pain or niggle and allow it to choreograph you – you can discover it as a character or maybe a landscape or a song – as you shift through modalities, the symptom is allowed expression; you can get present to it, rather than ignoring, suppressing, sedating, resisting it. When I do this exercise in class most people report at least 50% reduction of the pain or discomfort.
 
Back when I was practicing Five Rhythms, I was, on many occasions, able to transform physical discomforts and unresourceful mental states during a 3 hour class. 
 
Warm up
​
For both theatre and clown, warming up is key. I am currently teaching an evening class. I set an exercise close to the start of class, aiming to build on ground gained the previous week. A class participant reported: ‘it’s hard to come in from the outer world and gain the open state’, so we switched to exercises and processes to re-gain and re-install the open state. My warmups (using the wisdom of many beautiful teachers I’ve been privileged to work with) are full of invitations to sense the body: ‘feel your feel on the floor’; ‘taste the moment’; ‘be on the hara’. I use Avner the Eccentric’s instruction - ‘put the weight on the undersides of the body’ (to which I add ‘include the interior of the body - the undersides of your heart, eyeballs, brain’). 
 
When the attention is on the body, the brain is less busy, more open and resourceful. When the attention is on (or with) sensation, the body gains in flexibility. 
 
I also use an exercise learned on my Sedona Method training of opening up the heart, then the head, then the gravitas zone. It’s a great way to help people access the undefended self in preparation for clown work. Fay Simpson quotes one of her teachers: ‘the more (you) reveal (your)self, the more the audience will be revealed.’
 
Be-ing while doing

In clown work embodiment is key because we are interested in impulses over ideas, and a body that is warm and inhabited and paid-attention-to, is more conducive to heeding and following up on impulses. Impulses are the moments when unexpected magic can happen – and when impulses are ‘swallowed’ everyone in the room feels it. Becoming able to work with impulses brings freshness and energy to your clown and/or your acting self, it allows everyone to experience the instinctual, our humanity, and it generates what Monika Pagneaux calls ‘life-fullness’.
 
Once you have been able to achieve a good level of embodiment, to tune into your own psycho-physical self, it should be able to support you while being in relation to your co-players and your audience, and, if you are a clown or improvisor, your imagination.  
 
There’s a further step to the story. For a professional clown, like Slava Polunin, doing the same act with set beats every night, they create the spirit of freshness, they have the experience and skill to generate (or re-create) the spark or surge of an impulse at will, and the result for the audience is a feeling of the ineffable, of something transporting or even sublime.
 
Early Clown work is a lot of fun but people often ask – how do I develop timing? How can I be in clown state and improvising and be in connection with the audience? Deepening the practice of embodiment means growing your awareness multidimensionally: the awareness of the interior of your body, of the state of the audience and of the space/potential between you and your co-players and the audience. I use Declan Donnellan’s wonderful exercise ‘There’s you, there’s me and there’s the space in between.’, co-opting it for clown work as: ‘There’s you, there’s me and there’s a world of possibility in between.’ And, further, ‘There’s you there’s me and there’s them! (the audience) - and there’s worlds of possibility in between.’

When you are in action onstage (or in the rehearsal room) are you with your breath, are you awake to impulses? Are you able to respond to your scene partner? If clowning - how much can you interest yourself in your audience?

Breath, body, and process.


NOTES:

* About that micro-beat of failure: when something non-optimal happens, allow that to register with you and share yourself with your audience. If you are not intent on closing down and rushing away from that moment, then your body will be available to react. Something non-optimal happens – and if your body is open and responsive and connected and undefended, something will be visible - there will be an expression, possibly even a micro-expression of eyebrow, skin surface tension, a change in your breath – if you take the micro-second of time or the metaphorical ‘space’ to allow this response to happen, the audience can see it and feel connected to you. The audience loves to see the clown fail. Don’t deprive them of your undefended self. This is the clown’s job - to show the ’sad normals’ their humanity. ​(Sad Normals is a playful phrase I use when teaching clowning. ‘It’s the clown’s job to show all the thought processes, failures and feelings the Sad Normals (i.e. me in the supermarket) would prefer to suppress and hide.’)

**A wonderful example of this was Jamie Wood's show about tennis champion Bjorn Borg 'Beating McEnroe'. Wordlessly and gently, he threw tennis balls into the audience and we had to work as a community to deliver them back onstage. His gentle demeanour communicated to us and we emulated it, helping each other find the fallen balls and admiring each other's throws.

What is embodiment? 
 
My movement colleagues use ‘embodiment’ regularly now to mean a performer (or student performer) awake to and inhabiting their physical presence.
 
​Some definitions:
​
oxfordselearnerdictionary.com says: 
embodiment /ɪmˈbɑdimənt/
[usually singular] embodiment of something (formal)
a person or thing that represents or is a typical example of an idea or a quality synonym epitome He is the embodiment of the young successful businessman.
 
Miriam Webster says:
1 : to give a body to (a spirit) : incarnate. 2a : to deprive of spirituality. b : to make concrete and perceptible. 3 : to cause to become a body or part of a body : incorporate. 4 : to represent in human or animal form : personify men who greatly embodied the idealism of American life— A. M. Schlesinger born 1917.
 
This paper expresses it nicely:
‘Embodiment or incarnation is defined as the giving of human form to a spirit – to make manifest or comprehensible an idea or concept, through a physical presentation. In the biblical definition, incarnation is the manifestation of the holy spirit in human form. Similarly, in performance, the body is the canvas or the medium for expressing and bringing to life a concept, emotion, story or idea, before an audience.’
'Embodiment in physical theatre practices and actor training methods refers to the eradication of a perceived separation between mind and body, allowing for a “pure” communication between dramatic impulses and bodily expression on stage.'
https://www.researchcatalogue.net/view/299025/498832

Just look at this face ... adjectives come firing at you.

Pompous, boastful, pushy, arrogant, none-too-bright, belligerent, but also capable of being charming (or smarmy). Can you also see his ultimate cowardice?

This is the Capitano - just one of a set of 11 Mask Types* made according to XVIIth-XVIIIth century Commedia dell'Arte tradition. It's a stunning collection of masks that never fail to release play in the wearer and provoke squeals of recognition and excitement from the viewers. 

I am incredibly privileged to work with this collection, which has multiples of each type - allowing for different flavours of interpretation and delightful encounters between Masks.
​
The collection was handmade by Alexander McPherson. Read more about Alexander on his website. 

Commedia dell'Arte was innovated and thrived during the 16th, 17th and 18th centuries. It was born in a specific context - for an intriguing and thorough history of the beginnings of Commedia, read Dr Peter Jordan's excellent book, 'The Venetian Origins of the Commedia dell'Arte'.  Far from being stuck in a specific historical setting, the form re-invents itself regularly. Earlier this year, I taught Commedia for the MA Theatre Lab at RADA. Each student dazzled the class with fresh, vigorous, relevant iterations of the Capitano, Il Dottore, Arlecchino, Brighella, The Lovers ... and more.

One performer showed the evils of Military power, evoking a dandified brute - by turns frightening and risible. Another took us to a shocking place of transgression, subjugation and revenge.* And we marvelled how the 'other worldliness' of the sculptural nature of the mask allows us to encounter a rainbow of feelings while keeping full horror at bay. Another player created a demented, frantic, self-deluded Pantalone, with strong notes of vaudeville/panto/cartoon comedy business. Another did a chilling portrayal of Il Dottore, showing the petty authoritarian horror of impenetrable bureaucracy. Another did a resounding please against Climate Change in the guise of a poetry recital by Il Dottore. When I teach, students of any gender expression play any mask of their choosing, ready to critique, celebrate, own and subvert the enduringly familiar types. When we approached The Lovers, all students, including same-sex couples released exuberant, embodied portrayals of joy, longing, lust, folly and vanity. 

These performances gave us, the audience, an experience of witnessing humanity's flaws played out - emotional truth and ludicrous, flamboyant exaggeration in alternate moments; in simultaneous moments. And we the watchers were afforded the ability to  experience and name the fear and embody the aversion and also to experience catharsis via gasps, laughter and other emotional reaction sounds. 

A note about these times: yes, we must be careful to investigate everything at the moment. RADA is committed to de-colonising the curriculum. It's an ongoing process. Abuses of power are always present in history (including the history of theatre) but the joy of theatre is reinvention: reclaiming and bringing new, relevant life to theatre forms. I recently worked with Queer Jewish theatre practitioners, they requested specifically to work with Commedia characters and I suggested adaptations of the types for their consideration. I now teach the Paterfamilias: Pantalone as an expression of privilege. Pantalone de' Bisognosi (the needy) has privilege, but it's never enough (think of the man in the airport security queue who cries out in outrage:  'Don't you know who I AM?!' 

By portraying Comedia characters, we acknowledge the flaws within ourselves at the same time we critique power holders. Commedia is about community. Its meaning is in the meeting of a group of people with their various wants and desires - somehow in the playing through of all their clashes, affronts, plotting§ and subterfuge, a resolution of sorts is reached.

‘Commedia shows all the worst excesses of human stupidity and the conflicts that arise, and proposes nonetheless the possibility of democratic co-existence and harmony.’ - Carlo Boso

​I studied Commedia dell'Arte in the late 1980's, with Carl Boso - alongside other practitioners including Oliver Crick.
 
***

Oliver Crick is a highly accomplished Commedia dell’Arte exponent who has authored a wealth of publications on Commedia.
He has made an interesting proposal, to bring the invigorating joy of Commedia into the 21st Century – and into 21st century communities. This document gives examples based in the UK, but it could be employed in your own country. He’s entrusted me with this document and I am sharing it with you. – Peta Lily

The words, and the offer which follow are by Olly Crick:

COMMEDIA IN THE COMMUNITY – by Olly Crick

Olly Crick says: I am of the very strong opinion that what is needed, in the UK and in independent nearby republics, is more Commedia dell’Arte: specifically, a Commedia Company in every County and Region, responding to that region or county’s needs and issues. I can help you set up your very own local Commedia Company. This might be for you, students you care for (or not) , or for another string in the bow of your already existing theatre endeavours, and it might be an alfresco summer, festival or pub garden event, or an indoor autumn/winter community venue event…read on….

The Accepted Strengths of Commedia:

1. It is funny and has broad comic appeal, and highly capable of tragi-comedy.
2. It has a strong visual appeal, attractive to most audiences and appeals to a wide age range.
3. Its stock types are, with a bit of work, immediately recognisable to any audience.
4. It easily assimilates, song, dance, stage combat, acrobatics and other virtuoso displays of skill. 
5. (the masks, costumes, characters are all recyclable from show to show)

I have, I believe, a strong dramaturgic framework to support a potential county-based company and, as far as I can be sure of anything, lead it towards success, engagement and financial survival. This project has been developed out of my long and extensive interest in Commedia, both as a performer and enthusiast, and as an academic researcher. My proposal creates a framework or structure out of which each geographical zone can create bespoke and engaging comic theatre for the people within its territory. You may even want to deal with politics or issues!
​
Some Useful Observations:
1          The historical names and origins of the characters function as a barrier to contemporary audiences. From working with Old Spot Theatre (2004-14) an experiment to relocate the characters in Gloucestershire, complete with localised names and professions, proved successful.
2          That the historical masks all originated in adjacent regions, all of which had ‘attitude’ to the other regions. Each mask both represents for and caricatures people from that region, or area within that region. Commedia is ‘theatre of place’.
3          That one historical reason for the success of the genre was that each character occupied a single rung, with its own social class or gendered social class, so that the performance of a full troupe performatively shows the working of a complete society. Every member of the audience will have a representative of their social class on stage and sees how society works from that point of view. They will also, of course, have ‘attitude’ to the other social classes being performed in front of them. Commedia is a comic performance of a full societal spectrum from the Aristocracy or ruling classes, through the bourgeoisie to the working classes and precariat.
4          That though we remember the gags and laughter from a Commedia show best, it is a strong storyline that an audience engages with, that both keeps the audience’s attention for longer stretches than a series of good gags, and is the skeleton upon which the gags are based.
5          Politics is not something to back away from in a show. In my examination of current practice there are three models of commedia performance upon which to base your shows: entertainment, engagement and ideological. I strongly suggest that the ‘engagement’ model is the way forward for commedia. For those who are worried about being ‘political’, and alienating your audiences, I suggest that you actually mean ‘ideological’, because no one likes being preached to.  Politics can be seen as the discussion or negotiation over the availability of resources, and that, mainly, is the business of most drama. Another useful definition of politics is ‘ the performance of ethics’.
6          Commedia is not a masked form, it is a hybrid form of masked and unmasked performance. Each has a separate mode of reception which, when played to the strengths of each mode, creates a wide range of audience experiences, utilising different meta-theatrical conceits and reaching different parts of the brain. The audience experience of masks and unmasks is literally different.
7          Commedia dell’Arte characters are fixed social types (Tippo fissos) , not archetypes. Each one exists in an immediately recognizable position of power (social type) and a Jungian archetype is an inner state, experience by an actor, which they can employ, channel or interrogate to help perform their character.

Dramaturgy

1. Keep the hierarchical commedia system intact but transpose it your region. Who is the equivalent of Pantalone and Brighella, for example? What are their names? Where do they come from within your region? How do they speak, and in what dialect?
2. What are the characteristics and received ‘wisdom’ of each regionally based role, and who are their regional allies and enemies? What are their needs, wants, passions and fears?
3. What is the social hierarchy encompassing your regional based types? Have you created a hierarchy for your whole region, or just the bit you are interested in? Have you got power figures, middle classes and lower classes? Here below is an example chart of how Old Spot Theatre adapted their characters.

 
a.     There is an issue with the historical social types, in that the models 90% of commedia teaching is carried out through, and a 100% of the Masks commedia is performed with, are based on Renaissance and Baroque power structures and recreations of Renaissance and Baroque masks. These masks do not quite correspond with today’s types, so thought may be required to note what today’s societal hierarchy is (an examination of UK  census class divisions, for example, is useful here), what are its types, and which ones are masked (and whether we have to design new masks).

4.               Use a conventional 3 act neo-classical comic structure to build you story: Act 1 Introduction; Act 2, complication; Act 3, further complication and resolution.
5.              Each mask, based in a region, will have an immediate reaction to any change in the allocation of resources.
a.      For yourselves, how does each member in your hierarchy react to a particular stimulus that matters to your County?: the council offers the choice of a new leisure centre or a new railway station; a factory is being closed and relocated ; there is a lack of affordable housing etc. 
b.     Research the issues associated with your and map them onto the socially appropriate roles within your cast. 
6.               An unmasked role shows human ambition and the full range of human wants and needs, proposing the actions that start and develop a plot, and they exist in fictional dramatic time. A masked role is a fixed type and can only see things from their point of view, being locked into that position by the societal coding present with the mask-object’s design. A mask can simultaneously exist in dramatic time, and in the same time-flow as an audience. 
7.              As Commedia characters are social types only, their animation on stage is entirely dependent upon the actor portraying them. In rehearsal the question that should be foregrounded for each actor, is who is your ‘Pantalone’, ‘Doctor’, ‘Lover’ etc. Archetypal psychology from Jung indicates, perhaps, that the Masks’ drivers are basic human needs. Otherwise ‘archetype’ is an imprecise term and has been used spuriously to define ‘depth’ within a mask. A mask cannot be a stereotype because it is animated by the individuality of the actor performing them: they are simultaneously an individual representing the agency of their class, and a symbolic representation of that class.
8.             Other Things of Relevance
a.     Order of creation: Storyline, Storyline related gags, music, character related gags, surreal gags.
b.     You must have both masked and unmasked roles within your cast. With a small cast (of course) a workable approach is that each actor plays three roles: a major role, a supporting plot related role and a chorus role. Of the first two -  one should be masked, and one unmasked, to aid multi-roling.

Method
1.     Apply from your local Arts Council (or other funding bodies if outside the UK) for a grant to pilot a community Commedia dell’Arte company, reflecting through a comic framework the needs and wants of a community: three weeks of rehearsals and a week of shows, at a variety of traditional, community and non-traditional venues.
2.     I will run an introductory workshop with the aim of
a.     Meeting your cast
b.     Deciding on casting and local issues, and how best to map them onto which roles
c.      Negotiating a scenario.
3.     I will, under your advisement, write you a scenario or storyline
4.     I will loan masks, costumes etc for your pilot show
5.     I will act as mise-en-scene /director for your first show
6.     The above should be enough to get you on your way to establishing yourself locally.
 
Addenda
Obtaining good masks is an issue. There are various ways of solving this, from buying them, commissioning them, or running a mask making workshop with an established maker. I can recommend several.
Several of these approaches to Commedia are from original research, (see my PhD and extant papers), so you can always cite me or, if you use these in performance, credit the ideas in your program or publicity materials. 
Working with existing networks of community venues saves a lot of time in booking.
Never mention that what you do is Commedia, or mention masks, because bookers and the public all have very different views on what Commedia is, and some have ‘views’ about masks (“they’ll scare the children”). We adopted this strategy with Old Spot Theatre, calling ourselves” family friendly theatre from the merrie England that never was”, and it worked for us. No venue ever complained about mask use having seen them used.
Commedia may appear an esoteric and virtuosic theatre art form, but all its elements are aimed at clear immediate communication. It is an inclusive, non-elitist form, and you are there to entertain the public, and be their servants. Performing in a community venue means you are performing in someone else’s manor. Be respectful, be humble, and non-elitist.
 
A potential rationale - from the Old Spot Theatre website http://www.oldspottheatre.org.uk
…A long time ago, before DVD, VHS, PCs, Apple Macs and the steam wireless, entertainment was different, and watching it was done in larger groups than now. The skills of its practitioners were designed to entertain as wide an audience range as possible, both structurally and by each performer’s individual skills. The epitome of both skills and structure was the Italian Commedia dell’arte; in which highly refined specialists performed complex comic plots through a mixture of improvisation and rehearsal. Each performer played a role from a different social class and wore a stock mask and costume to make them easier to recognise.

The overall effect was of instantly recognisable character types that an audience could relate to viscerally and immediately, and hence dispense with large amount of comically redundant theatrical exposition, so beloved of psychological theatre. In other words, once the characters were onstage, you could cut to the chase immediately, get involved in complicated plots, multiple disguises and the like because the whole audience intuitively understood each character. Even better, the characters were recyclable, in that the same roles appeared in all the Commedia dell’Arte shows, but with different relationships, much in the same way the television series Blackadder or The Carry On films functioned.

Who were these characters then? Generally they fell into economic categories: Masters, Servants, Children, and Lovers, all with distinct Italian regional characteristics. Pantalone, the Venetian Miser, for us becomes Titus Dallymore, the Berkeley Vale farmer and Doctor Lombardi, the Bolognese lawyer, pedant and know-it-all becomes, Dr. Ignatius O’Reilly, the London trained expert in everything you need to know. Their children, Florence and Jack become anglicised and fight for their ever-growing love with both Italian passion and English embarrassment. They are the lovers, whose eventual consummation provides the drive for the plot. The servants of the commedia: Brighella, Colombina, Harlequin and Zanni become respectively landlords, waitresses, labourers and labour-migrants, all with their own desperate individual desires and difficulties.

So, in order to create a style of theatre that can survive for a wide a range of audience as possible, and all at the same time, we have borrowed the masks and comic relationships of these Italian antecedents and brought them to our own theatrical never-never land (the merry England that never existed), to tell parables about today, to remind us all that no one person is better than another, that we are all capable of good and evil, that we all live in Gloucestershire (or whatever your region), that Gloucestershire is as good a place as any, if not better to start, to celebrate farming, wild life, thrift, generosity, love, revenge, town, country, eels, sheep, our history and our future.

As living becomes faster, as car journeys become more and more necessary for the everyday graft of living, then at least once a year take the time to walk to your village hall, to see a show, with your family, with your neighbours, with the folk who live in your village and sit down and enjoy some truly excellent live theatre.
 
WE NEED COMIC THEATRE THAT PUTS ISSUES IN FRONT OF PEOPLE, AND MAKES THEM LAUGH AT POWER, ENCOURAGING THEM TO DEBATE ISSUES.
Go ON, I dare you….
Olly Crick 02/03/2020
Contact Olly Crick by email:  oldspottheatre@aol.com

Books and publications by Olly Crick include:
 
·       Commedia Dell'Arte: A Handbook for Troupes by  Oliver Crick  (Author), John Rudlin  (Author)
·       The Routledge Companion to Commedia dell'Arte (Routledge Companions)  – Illustrated, 8 Dec. 2014
·       Commedia dell’Arte for the 21st Century: Practice and Performance in the Asia-Pacific (Routledge Advances in Theatre & Performance Studies)  2021 by  Corinna Di Niro  (Editor), Olly Crick  (Editor)
·       Commedia dell'Arte Scenarios Hardcover – 12 Nov. 2021 by  Sergio Costola  (Editor), Olly Crick  (Editor)
·       The Dramaturgy of Commedia dell'Arte  – 31 Dec. 2021 31 Dec. 2021 by  Olly Crick  (Author), Sergio Costola  (Author)
·       Olly Crick’s PhD dissertation: https://research.edgehill.ac.uk/en/studentTheses/approaching-aesthetic-positions-for-neocommedia-19462016-a-dramat

​Contact Olly Crick by email:  oldspottheatre@aol.com

* Many MA Lab students are from abroad. One expressed excitement at the opportunities this enduring form offered to theatre being made under conditions of restriction of expression. Because the form is so absurd, you can create scenes which, while delivering a strong visceral punch of recognition and catharsis of emotion, are free from specifics which would make them overtly contentious.