peta LiLY
  • ABOUT
  • COURSES
  • Shows
  • BLOG: Dark Clown, Clown plus
  • Contact
  • FAQs for the Clown & Dark Clown course
  • Creative Mentor / Acting Coach / Director
  • ONLINE COURSE INFO
  • What people say about the Clown & Dark Clown course
  • What people say about the Alchemy of Archetypes course
  • What people say about the Barefaced Commedia dell'Arte course
  • PLAYS and POETRY
  • What people say about the Clown Course

back and forward in time

5/1/2017

1 Comment

 
Picturethen and now - photo taken performing 'Topless' in Athens in 1999 and a snap of me today
The journey towards the May 13 showing continues. 

I've just done the seventh rewrite of the original 1999 show, Topless*. 

New jokes have been added. Old ones upgraded or snipped off and left to curl on the cutting room floor. A keen eye has been put to the themes. Changes made to the songs.

I've written (with the invaluable help of my 'outside eyes' including producer Sharon Burrell) a brief bit at the top of the show to ready the audience to travel with me, to contextualise a script written 20 years ago.

My outside eyes are all women younger than me - they tell me how many of the issues in the show: identity, body image, autonomy versus relationship speak to them now. Hooray, the work is still relevant!  Boo, much of the muddle is still going strong...


Something about the date for the first work-in-progress  run has been nudging at me.
​
I finally go and look something up - oh, it's the anniversary of my Mother's death.  I don't like to be sentimental or portentous (neither did my Mum), but Mum (and her death) is/are in the show. There's other more fun stuff, too, I promise! Mum loved live theatre and lounge songs so might I think of it as a tribute she would appreciate? 

​

​Marking moments, marking changes, marking time? Moving forward and back. 

I am also currently reviewing Mad Men on netflix. Don Draper was pretty much my father's age. I just saw the Cuban Missile Crisis episode - an interesting resonance with the current 'major, major' stuff going on right now. It was interesting seeing all the characters weighing up their pasts and simply carrying on. May we all look back on this as an interesting moment in time. 

Back in 1996 there were some events that took my life right off-track. I didn't like it at all at the time, but I found after a few years had passed what a fantastic benefit it was to have been thrown a few existential curveballs. 

* 
Topless went to Edinburgh 1999 with the racy byline : 'a show about life and death and love and hate and sex and sticking plaster and breasts.' And was described this way by the press:

a macabre comic style...her accounts of failed relationships, low self-esteem, and her brush with breast cancer...are both hilarious in their frankness and moving. ..with her consistently high energy and warm, engaging stage presence, Peta Lily captures and maintains the attention of her audience throughout. Total Theatre
 a talented comic, she takes the departure of her husband and the illness and death of her mother and turns them into something which is not just entertaining, but is even funny  Edinburgh Evening News
a refreshingly comic, intelligent and informative exploration of the turbulent events in one woman's life crisis...consistently funny...Lily recounts her experiences with an incisive and inventive wit...guiding her audience away from unnecessary sentiment but not losing a sense of poignancy The Scotsman
instead of erotica, Lily gives her audience something far more outrageous and personal...told with consistent humour. Lily has lightness of touch, instinctive wit ...one of those rubber faces...and a silky singing voice. Lily manages...to keep them laughing right up to the end. The Stage
Do see her perform her uniformly funny, yet unabashedly realistic play about ageing, breasts, cancer, sex, music, movies, life and death. Totally HK (Hong Kong)

1 Comment

blast from the past

4/23/2017

0 Comments

 
Picture
How would you feel if you were handed a transcript of words you said twenty years ago and had to speak them aloud, in public?

I am about to re-tell some awkward truths. Re-open a few old wounds.

Currently preparing for a first raw run of autobiographical show Topless - a show which opened at the Lion & Unicorn Theatre and played the Edinburgh Fringe Festival in 1999. Fitting slightly differently into the same dress is one palpable reminder of things changed since then. Cutting the cigarette smoked onstage is another.

Even more strange is revisiting a tone of voice I can hardly recognise. Sentiments and syntax reveal a different mindset.

Content-wise I am revisiting a time when I felt disoriented, helpless, lost.

Given recent world events we all now feel disoriented, helpless and lost.

​Doubt has always been a big part of my process (who knows whether it's a vital part or simply an annoying side-affect). One commits to a performance date. Progression towards that date moves  through spikes of fear, occasional elation and regret. (I even lost my voice on the run-up to the very first performance - nods to Freud and Louise Hay).

Back then it was the transgression of revelation which woke me in the middle of the night. This time the discomfort is different.


Topless was written in the present tense. ​I am having to mouth thoughts and attitudes on which I have since closed a door. 

In the making of recent show Chastity Belt I embraced Artemis. 


'I am not who I used
to be. I am not used.
I am not touched.
I no longer burn scorch smoulder with fire -
like an angel
-or a bathroom sponge-
I am the opposite
of desire.'
 

Topless recalls duvet days of bison grass vodka, the euphoria of pre-op medication and kitchen sex -  it's a little scary remembering the power of the libido and having to embody it again.


0 Comments

the power of sharing ideas

2/22/2017

0 Comments

 
I was fortunate enough to meet Dave Pickering at a Devoted & Disgruntled event on the topic of Gender last year.

After developing my show Chastity Belt (2011-2013 and still touring), my thoughts were stimulated by wider questions of gender and associated issues. I got an opportunity to see Dave's show Mansplaining Masculinity which I found thrilling, informative and thought provoking. 

Dave interviewed me the other week for his Getting Better Acquainted podcast and it's fresh up today.
He is such a warm, informed  and generous interviewer and runs his podcasts like a conversation.

On twitter today, Dave (his twitter handle is @goosefat101) summed up what we covered as we spoke : 
In @GBApodcast 288 @peta_lily talks movement, memory, memoir, dark clown, solo shows, bereavement and so much more.

​And here now is the link to all of that on soundcloud.

Picture
Dave Pickering
Picture
Image from Midriff (centre piece of the Trilogy) circa 2002 Photo: Esvigo
0 Comments

anatomy of a life - the trilogy

2/21/2017

0 Comments

 
PicturePhoto: Graham Fudger
This is where it started.
During 1996 and 1997, friends kept saying 'you should make a show out of this'. 

In 1999, I made that show. I asked a friend 'what's a funny title for a show about breast cancer?' and, experienced improviser as he is, he immediately said: Topless.

1996/7 were the years when I racked up 5 of the things often listed as 'the most stressful life events'. (I am ashamed to note, that, compared to the fates of so many in the world right now it was a bunch of nothing, but tell that to the subjective nervous system). 

Topless is not only about breast cancer it was also about divorce, upheaval, heartbreak and getting things off one's (my) chest, but ultimately (I only discovered through the process of writing it), it was about facing changes and the attendant necessity to renegotiate a sense of identity.  The show made its debut at the Lion & Unicorn Theatre (and subsequently toured to Greece, Hong Kong and Australia).

On opening night I had no expectations as to its appeal. I had made the show as funny as I could (with a couple of moments where pathos was allowed to rub through). I thought women might appreciate the show but was surprised in the bar afterwards to hear men engaging with it - one of them put it like this: 'everyone has had to deal with illness and death, or fears having to deal with it.' 

Soon people began to ask, 'what's next?'. I joked:  'It's going to be a trilogy'. 

Picture
In 2002, I made Midriff. About mid-life, family, loss, decisions, courage and cowardice. And theatre - the 'flesh and blood' as my mother used to call it.

It then took until 2011 for enough life to have been lived (including a 6 year period when I didn't perform at all) and enough thoughts to have been gathered for a third 'chapter': a show called Chastity Belt.

​This January I sat at my dining / work table with producer Sharon Burrell and did a read through of the shows asking ourselves how to approach a possible durational event where the pieces would be performed one after the other. 20 years of a life (with two intervals). 

We noticed, as I read, some of the sharp differences between the larger world then and now. At the personal level, I found myself facing  the vivid doubt whether this proposed project was, in any conceivable way, wise.

It was strange and little alarming to feel the rhythms and attack of Topless in my mouth. Certain passages shocked me; 'Wow, so I actually said that?' S
omeone once described Topless as 'raw and emotional' - I failed to see it at the time. Then there were details - details of my own lived life 'important' enough to have made it into a show text - which had evaporated completely from my memory, but were here, still, suspended in the strange aspic of a theatre script.

Midriff wrestled with choices and quibbled with chance and paid homage to few losses: a mother, a brother and a person who (I realised, in retrospect) provided the concrete start point for my theatre making career. But during the read-through, I saw how Midriff pulled together diverse threads of my life at that point. Threads which got slowly stretched and then fairly desperately unravelled in the six years that followed (see Invocation - a show which is chronologically but not anatomically implicated). It was after Midriff, in 2002, that I turned my back on self-indulgent foolishness in pursuit of future financial security (hold, hold your gales of laughter). By 2008, I had reached a flavourless and dusty place I affectionately call 'creative death'. I was working in a field where people are exhorted to 'find their passion' to take them to the next level. I began to feel uncomfortable but brushed the feeling off - after all, the recipie to success and fulfilment is 'getting outside of the comfort zone', isn't it?!

Then one day I looked down and noticed I was shuffling (dynamically shuffling, mind you) along with my tattered passion around my ankles. 

I was compelled to make Topless, despite my terror of how it would be received or what it would reveal about me. Theatre making is a compulsion (or so I believe). Autobiographical work will always have to justify itself against self-indulgence and rightfully so. But having visited a place where no compulsion was pushing at my back, I cannot help but champion the practice of honouring creative nudges and risking to express and examine and explore and tell stories and re-weave persistent themes. 

In 2011, Chastity Belt began as another joke - making light of my current personal situation. Ridiculously, and unexpectedly, it became a joyful and exuberant embracing of my single, celibate status - think Artemis, think autonomy! In the third anatomical chapter, I found a new place to stand. And I like to think I brought a little extra business to organic lemon growers. 

Midriff leaflet (above)
Photo: Graham Fudger. Design: Jamie Zubairi  (note clever repurposing of the flowers from the Topless shoot)

Picture
Photo: Steve Taylor
0 Comments

autobiographical theatre

6/14/2015

1 Comment

 
Picturethe unique Claire Dowie
Years ago, I had the great joy of working alongside writer/theatremaker Claire Dowie (in her two-hander 'All Over Lovely' 1996 - UK tour and the splendid much-missed Drill Hall). A reviewer once said that Claire was 'against anything that you could define'. She spoke her unique truths in fiction and in biographically-based pieces.  Claire had been a comedian and 'got tired of joke joke joke' and together with her director and partner Colin Watkeys they created 'Stand-up Theatre'. Written texts performed no-fourth wall. Musings, drama, narrative, storytelling mashed-up.

After a gap in performing (divorce, cancer, parental decline and death etc), I returned to the stage with Topless, a show describing divorce, cancer, parental decline and death etc. Although I had used my life material in my work before (overtly in Red Heart and in a modified way in other shows), I was randomly given an opportunity to perform for a few nights). I had a performance model in Stand-up Theatre to say what had to be said. Because it did seem to me, to have to be said. Not because it was worthy but because it was the material to hand. Urgently to hand, because it was stuff I had not fully made sense of yet. 

Given the absurdities of hospital visits and life in general, friends would often quip: you can make a show about this. And so I, um, did. I would wake in the middle of the night and sit at a stark 90 degrees thinking: this is a really stupid thing to do. But I did it anyway. The show dates were in the diary. I sent the script to my ex-husband to approve, although the jokes were mainly pointed at myself. I asked my then boyfriend, sorry ex-boyfriend: I know you said this, but if I say this it will be funnier is that ok? I worried that a show about breast Cancer (there has been a lot more work ion the subject since, this was 1999) would be glum. I asked a friend, impro veteran Philip Pellew: what's a funny title for a show about breast cancer? Topless her said and Topless it was... though I wasn't, much to the chagrin (or something) of the six lone 20 year-old men who comprised my entire audience one evening in Edinburgh in my lateish Fringe slot...

Back at the start - I had the material but I did not know how to slant the story. 'Don't get it right, get it written.' And all the events tumbled forth and were sifted through to see what was worthy of inclusion. 

At a certain point in making a show you start to ask: I need a good finish, how's it going to end?  how does it all wrap up? what point am I making here?

I went to archetype - is this the story of Job? - nah not that message. Can Dante's seven layers of Hell be used to spin it off? Nope. Lists (7 sins, levels whatever) are undramatic and it's not about redemption...

I had a running motif about movies - how I feared to become Ann Bancroft in '84 Charing Cross Road', how my 'amour fou' ( the relationship after my marriage) reminded me of 'Betty Blue' ( without the eye episode and the suffocation with pillows), how during Radiotherapy treatment I cast myself as Sigourney Weaver in 'Alien', pitted against the beast of the deadly ray-giving machine.

Then one night I had a dream where I was onstage and didn't know my lines, in fact I didn't really know what play I was in. And the core theme finally hit me - this piece is about identity. I was surprised because I felt I was not a traditional wife and I had my performance identity (mind you, identifying as 'physical theatre performer extraordinaire', or even 'ordinaire' takes a bit of a kicking after a bit of surgery and vitality-sapping nuclear burning). So the ending saw me embracing my inner Ann Bancroft (it worked better in the show than it sounds, I promise, and a kicking playout tune really helped).

I lost my voice - literally - while writing and rehearsing Topless. I was being assisted by a student following the process for her Theatre degree. She would read my lines and I would mime. Intensive practice in playing Stanislavskian actions. I made it through the first show without coughing (the only time I have drunk brandy onstage). And after the run I discovered my singing voice had gained some breadth. Use it or lose it. Speak it or choke it. Say it and get bigger than it.

As I say, I 'had' to make that show. And I had so little to lose. I came into the bar to find people talking to each other, to strangers, about their parents, and illnesses they or friends had suffered. And scary old death of course.

Keep your eye on the entertainment, speak the truth, make sure your jokes are funny and you earn the right to tell your own story. Tell it well. Be strategic - think of your audience. Work on your conventions, polish your performance, manage the different textures, be clear with the story, embody your characters well, keep your eye on structure and pace, find the universal theme, have a good engaging beginning, an intriguing middle and the best end you can muster, and bingo - others can find the universal in your particular.

And of course - you can't do all these things in the previous paragraph from the go-get. Allow yourself to be in the not-knowing, the discomfort. Get ruthless later.

When you make autobiographical theatre, you have to get outside your story to write or devise it. then you have to get back in to play it. Being able to see things from different vantage points has to be a key skill. For life, not just theatre making. Yes I know, possibly an underrated one. Comedy is good for that - things are never the way you think. Comedy, like life, must be full of surprises. Getting outside your story frees you from the fixed vantage point of 'victim of circumstance'. You are Author and Editor (or your director is) and you are also, if not 'Hero' - at least Protagonist. You should also at moments be your future Audience. Assessing your work from their vantage point. Having to write publicity blurb helps a lot with that.

When I look back on two years where, at the time, there was a fair amount of crying and angst - what I see now is the cartoon version of it I portrayed in Topless. Talk about transformation. Talk about re-frame - NLP eat your heart out.

I can definitely vouch for the therapeutic value of autobiographical theatre, but you only get it if you are genuinely willing to examine and to 'go there' but while being rigorous about the theatre-making process.

Picture
photo: Graham Fudger Topless was made on no funding - check the 'here's one I made earlier' publicity
Lucky me - in those days the real papers would actually come to see your show:
Topless: stand-up theatre - about 'life and death and love and hate and sex and sticking plaster and breasts.' Played UK, Greece, Australia.


a macabre comic style...her accounts of failed relationships, low self-esteem, and her brush with breast cancer...are both hilarious in their frankness and moving. ..with her consistently high energy and warm, engaging stage presence, Peta Lily captures and maintains the attention of her audience throughout. TOTAL THEATRE

a talented comic, she takes the departure of her husband and the illness and death of her mother and turns them into something which is not just entertaining, but is even funny  EDINBURGH EVENING NEWS

a refreshingly comic, intelligent and informative exploration of the turbulent events in one woman's life crisis...consistently funny...Lily recounts her experiences with an incisive and inventive wit...guiding her audience away from unnecessary sentiment but not losing a sense of poignancy THE SCOTSMAN

instead of erotica, Lily gives her audience something far more outrageous and personal...told with consistent humour. Lily has lightness of touch, instinctive wit ...one of those rubber faces...and a silky singing voice. Lily manages...to keep them laughing right up to the end. THE STAGE

Do see her perform her uniformly funny, yet unabashedly realistic play about ageing, breasts, cancer, sex, music, movies, life and death. TOTALLY HK (HONG KONG)

1 Comment

I shouldn't say this, but

5/24/2015

0 Comments

 
I am working towards a new show, opening soon see here.

Friends will be coming. Hopefully also some people that are not friends of course, as well.

I have a predilection for the raw and immediate, when I am writing. So I am planning to say things that I don't always say in conversation with people. And if I were to say them, they would be said with provisos, explanations, albeits and, well, equivocation.

But for theatre - you want strong statements. And flaws. And conflict. So these not-normally-said things are now in the thing that is known as The Script.

I was interested that the writer
Karl Ove Knausgaard said ‘Writing is a way of getting rid of shame’. The piece must stand or fall on its own merits of course - but, in this respect a least, I'm in good company.

This phrase has been running round in my head so I 'youtubed' it: 'don't let me be misunderstood'.
Though I believe we always will be misunderstood, misinterpreted, etc. The verses in the song say good things about being human - but I am not sure I identify with the line 'I'm just a soul whose intentions are good'. I try to have good intentions but I see myself fall down on them everyday.

Hm, guess that's why the show is called Imperfection.

A number of years back when I was trying to claw back from creative death I did a POP (Process Oriented Psychology) workshop. You take feelings, turn them into images or movement then turn that into a landscape or a song and I got this. I didn't take it seriously / resisted it at the time...
But looking back - 'letting it all hang out' it is what has got me through a line of theatre productions, all prompted by stuffthatIdidnotknowwhattodowith.

from a section of the show called My Friend:

'and maybe I wouldn’t tell you how I thrill to the

transgression of honesty

because I wouldn’t have to say it

because you know that about me

and how

it takes off the pressure from the hiding

from the near hysteria that builds up the steam which

builds up

because

why is everybody else pretending that This Stuff doesn’t happen to them?'


So there we are. And here I go.



0 Comments

    SEARCH by Category - scroll below

    This blog covers my Clown, Dark Clown, Comedy, and Theatre Making practices.

    ​Buy me a Ko-fi?
    I am writing a book on Dark Clown. If you enjoy the posts here, I'd love your support on my Ko-fi page. Your donation - even a small one - will help pay for time, editors, proof readers, books to inform context etc.
    ​ Thank you!
     

     https://ko-fi.com/petalily 

    30 years of practical research has created a new genre: Dark Clown. The Comedy of Terrors - Dark Clown & Enforced Performance was delivered at Bath Spa University. The work is cited in Clown (readings in theatre practice) by Jon Davison.
    ​

    Images above: Tiff Wear, Robert Piwko, Douglas Robertson, PL and Graham Fudger. Illustration by
    Charlotte Biszewski. Mask: Alexander McPherson.

    Categories

    All
    Absurd
    Absurdity
    Absurd Theatre
    Acceptance
    Accept Everything
    Acting
    Actioning
    Actions
    Adaptation
    Adversity
    Aesthetic
    All Over Lovely
    Amygdala
    Anais NIn
    An Die Musik
    Archetypes
    Aristotle's Poetics
    Arnold Mindell
    Audience
    Autobiographical Theatre
    Avner The Eccentric
    Awareness
    Backstory
    Bafflement
    Beats
    Believable Verisimilitude Of Pain And Distress
    Benefits To The Actor
    Big And Small
    Bim Mason
    Body Mask
    Bouffon
    Breath
    Breathing
    Brene Brown
    Buster Keaton
    Buzzer Exercise
    Calibration
    Call And Response
    Carlo Boso
    Carthasis Of Laughter
    Casting The Net
    Catharsis
    Chaplin
    Character
    Chastity Belt
    Chinese Clown
    Circo-therapy
    Circus
    Circus Lumiere
    Claire Dowie
    Clown
    Clown & Dark Clown
    Clown & Dark Clown Course
    Clown Doctors
    Clown Dramaturgy
    Clown Egg Register
    Clown Genius
    Clown Jokes
    Clown Logic
    Clown Poem
    #clown #poem #clownpoem #dignity #transform
    Clown Power Symposium
    Clown Professor
    Clowns
    Clown State
    Clown State Process
    Coat-of-arms
    Colin Watkeys
    Comedy
    Comedy Craft
    Compassion
    Conditions For Comedy
    Confessional Theatre
    Conflict And Pain
    Consent
    Consumer Guilt
    Content Awareness
    Contrast
    Controller
    Corpsing
    Costume
    Costume Design
    Costume Embodiment
    Coulraphobia
    Courage
    Covid
    Creativity
    Crying
    Crystal Lil
    Curiousity
    Curriculum
    C-words
    Dark Clown
    Dark Clown Documentary
    Dark Clown Dramaturgy
    Dark Clown Scenario
    Dark Clown Scenarios
    Dark Side Play
    Dave Pickering
    Deadpan
    Declan Donnellan
    Design
    Devising
    Dignity
    Dina Glouberman
    Discomfort
    Distance
    Documentary
    Dramaturgy
    Electro-pop
    Embodied Performance
    Embodiment
    Emotions
    Empathy
    Enforced Performance
    Ensemble
    Ethos
    Evil Laughter
    Exaggeration
    Extraordinary Physiological Response
    Facilitation
    Failure
    Failure As Success
    Fairytale
    Feminist Clown
    Flow
    Fool
    Fox And Maiden
    Gaulier
    Gender
    Genres
    Getting Your Message Across
    Half-Masks
    Hamlet Or Die
    Happenstance
    Hara
    Heart
    High Stakes
    High Stakes Predicament
    High Stakes Predicaments
    Honesty
    Horror
    Humanity
    Humanity In Extremis
    Hybrid Clown
    Hyper-vigilance
    I Am A Timebomb
    Imagework
    Imaginary Circumstances
    Immersion
    Implicate The Audience
    Implication
    Impossible Choices
    Impro. Clown. Clown State
    Impulse
    Impulses
    Inner Critic
    Innocence
    Inspirations
    Intention Of The Dark Clown Work
    Interview
    Interviews & Auditions
    In The Now
    Intuition
    Invocation
    It
    Jean Genet
    John Towsen
    Journals
    Jung
    Keith Johnstone
    King Lear
    Laugh At
    Laughing Gear
    Laughter
    Laughter Nudge
    Laughter To Implicate
    Learning
    Learning Lines
    Le Bide
    Line Up Exercise
    Line-up Exercise
    Lisa Wolpe
    Lumiere & Son
    Mamet
    Marginalised Emotions
    Marx Brothers
    Mask
    Mask State
    Methodology
    Mime
    Monika Pagneaux
    Motif
    Motifs
    Name Game
    Negative Emotions
    NLP
    Normal Audience
    Not Being Seen
    'not Doing'
    Okidok
    One Action
    Pain
    Pantomime
    Pema Chodron
    Pennywise
    Performance
    Perseverance
    Perspectives
    Peter A Levin
    Philippe Gaulier
    Pip Simmonds
    Play
    Play-possibilities
    Plot And Character
    Poetry
    Pop
    Power
    Predicament
    Predicaments
    Preparation
    Process
    Production
    Proprioception
    Props
    Red Nose Clown
    Rehearsal
    Repetition
    Resonances
    Reviews
    Rhythm
    Ridiculous
    Roger Rabbit
    Rough Puppetry
    Rule Of Three
    Rumi
    'sad Normals'
    Sad Normals
    Satire
    Sedona Method
    See The Cost
    Self Compassion
    Shakespeare
    Shame
    Shows
    Sobbing
    Solo
    Solo Theatre
    Stakes
    Stand Up Theatre
    Stand-up Theatre
    Storytelling
    Strange Forces
    Strategic Play
    Sufferring
    Take It Further
    Taking Laughter To The Limits
    Tarot
    Teaching
    Teaching Hygeine
    Techniques
    TED Talk
    Theatremaking
    The 'bide'
    'The Circus'
    The Comedy Of Errors
    The Cost
    The Death Of Fun
    The Fool
    The Guard
    The Little Mermaid
    The Maids
    The Menu
    The Revenger's Tragedy
    Three Women
    Tibetan Buddhism
    Timing
    Tips
    Tips For Learning Lines
    'Tis Pity She's A Horse
    'Tis Pity She's A Whore
    Tonglen
    Topless
    Torture Over Ten Feet
    Tragedy
    Transparent Teaching
    Trauma
    Trickster
    Trigger Warmings
    Trilogy
    Troubled Laughter
    Truth & Fiction
    Truth & Lies
    Truth + Pain
    Upset
    Upset Procedure
    Useful Principles
    Use Your Senses
    Viola Spolin
    Vulnerability
    Warmup
    Wendy Darling
    'what If'
    Witness
    Women And Clowning
    Women Clowns
    Workout
    Writing
    Yoshi Oida
    Zen

    Archives

    October 2022
    July 2022
    June 2022
    February 2022
    September 2021
    May 2021
    April 2021
    March 2021
    August 2020
    July 2020
    June 2020
    May 2020
    April 2020
    March 2020
    February 2020
    December 2019
    August 2019
    June 2019
    March 2019
    November 2018
    September 2018
    March 2018
    January 2018
    October 2017
    September 2017
    August 2017
    June 2017
    May 2017
    April 2017
    February 2017
    January 2017
    September 2016
    July 2016
    February 2016
    January 2016
    November 2015
    September 2015
    August 2015
    July 2015
    June 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015

    RSS Feed

workshops & shows 


Join Peta Lily Theatre Workshops on Facebook

Like Peta Lily Shows on Facebook

Follow @peta_lily on Twitter

Follow @petalily on Instagram

Curious about Dark Clown? get your FREE ebooklet when you sign up to the mailing list - see the form to the right!

Something else? If you are looking for a director / creative mentor / workshop leader for a bespoke workshop for your company or organisation or any other matter - go here.

* By signing up to the mailing list you agree to receive mailings about workshops, shows, publications and very occasionally other news, usually only about a half dozen mailouts a year. You can always choose to unsubscribe at any time – there is an unsubscribe link to click on in each email I send. Your information will not be shared with any third party.

Picture

    JOIN THE MAILING LIST & GET YOUR FREE ebooklet - 2020 extended version

    * By signing up to the mailing list you agree to receive mailings about workshops, shows, publications and very occasionally other news. Your information will not be shared with any third party.
    iCloud email addresses don't always work with the mailing system - and, IMPORTANT -please double check you input your email address correctly - if there's a typo I cannot contact you.
    iCloud email addresses don't always work with the mailing system - and IMPORTANT please be sure not to make a typo when inputting your email address.
Submit