People have often asked what other things are ‘like’ Dark Clown. 
 


Contents of this post: 
1/ My Dark Clown productions 
2/ Key inspirations
3/ Spirit of Dark Clown 
4/ Resonances
5/ What I talk about when I talk about Dark Clown (a reminder) 
6/ Other resonances collected over time
7/ Exploration
8/ Other random thoughts 

Appendix: Video and other publications
 


1/ My Dark Clown productions include:
2000 Hong Kong Fringe. ‘Hamlet Or Die’ 'deals with extremity, pointlessness and pain ... a dark and disturbing piece of theatre built on the sufferings of others.' - South China Morning Post 
2003 Tryfuss Theatre Company, Portugal. ‘The Maids’ - ‘The most meaningful and truthful production of the play I have seen.’ - Pedro Aparício, Academia Contemporâner do Espectáculo 
2005 Robbie Gringras' ‘About the Oranges’ - 'moving and gripping' - Sunday Telegraph 'bleakly, blackly funny.' - Sunday Times I directed this piece – Gringras contacted me to direct after attending the Clown & Dark Clown course – some element of Dark Clown was used. https://www.youtube.com/watch?v=MX650lWQZbI&t=6s
2012 Lily served as Dark Clown consultant to Jammy Voo's production ‘Birdhouse’ and ‘Acrojou's Wake’ (neither production was completely Dark Clown). 
2013 – ‘Strange Forces’ at Circus Space. ‘Peta Lily directed show at Circus Space last night was terrific. Clowns like wounded refugees from a post-apocalyptic Beckett play.’ The chorus doing the links between the main acts were Dark Clown inspired.
2016 directed award-winning 'Je Regrette' (aka 'La Poule Plombée') for Sarah-Louise Young - Cabaret meets Dark Clown 'hilariously moving' - The List 
2018 ‘Famished’ for Lost In Translation Circus - Clowns are forced to deliver a cult seminar event. 
2018 Dark Clown Consultant to Hocus Pocus’ show ‘Clown About Town’.
2020 Dark Clown Consultant to Lucia Tong's 'Vegan Gluten Free' at Soho Theatre.
 
2/ My direct, key inspirations were:
A scene from Pip Simmons’ theatre piece ‘An Die Musik’ – you can google reviews for this amazing courageous production. I mention it in this blog post: https://www.petalily.com/blog-dark-clown-clown-plus/the-comedy-of-terrors-dark-clown-enforced-performance
 
Also, a scene Lumiere and Son’s ‘Circus Lumiere’, Anyone fortunate enough to have seen the clown scene in UK theatre group Circus Lumiere's wonderful show ‘Circus Lumiere’ many years ago will have a good example of the clown having to offer its suffering for the audience's pleasure. I speak about my memory of it in this blog post: https://www.petalily.com/blog-dark-clown-clown-plus/implicating-the-audience

... other influences:
Absurd theatre contributed inspiration. There is a wonderful scene with a wounded soldier in Ionesco’s ‘Macbett’: https://en.wikipedia.org/wiki/Macbett
Also see the prologue notes to Jean Genet's play ‘The Blacks’, for a good model of implicating the audience. Of course, the work is nourished by the plays of Samuel Beckett who used Clown and Music Hall influences.

Another key influence for me was the film 'They Shoot Horses Don't They?' about marathon dancing in the 30's in America. The jobless, starving people allow themselves to be a spectacle enduring exhaustion and sleep deprivation to have a chance at the prize or simply to have access to food. It's not comic, but there's a scene (like the ‘shooting gallery’ exercise) where Jane Fonda carries her dying and dead partner through a dance in order to stay in the game.
 
In my 2000 production of ‘Hamlet or Die’ at the Hong Kong Fringe Club and also in the production of ‘The Maids’ in Oporto which was set in a women’s prison, I was no doubt influenced by Peter Weiss’ play ‘Marat/Sade’, with its play within a play concept. 
 
1984 George Orwell wrote "If you want a vision of the future, imagine a boot stamping on a human face - forever." I am not sure whether it is a quote from his dystopian novel 1984 – but much in the novel is relevant: ‘Obedience is not enough. Unless he is suffering, how can you be sure that he is obeying your will and not his own? Power is in inflicting pain and humiliation. Power is in tearing human minds to pieces and putting them together again in new shapes of your own choosing.’ I continue to be haunted by the thought that, faced with torture as George Winston was, would I too call out ‘Do it to Julia’.
 
I saw ‘Oh What a Lovely War’ in my teens – powerful presentation of the obscene absurdity of power and the devastation of war.
 
In my late teens I read Joseph Heller’s ‘Catch 22’. When I talk about Impossible Choices in the Dark Clown work, perhaps this book had a part to play.
 
Another influence I have gathered along the way is the scene in the second half of the film ‘Saving Private Ryan’ where a German soldier in a hole digging what might become his own grave begins to say how much he loves America. I have now adapted this as a Dark Clown exercise. I write about it in this blog: https://www.petalily.com/blog-dark-clown-clown-plus/dark-clown-talking-your-way-out-of-your-grave
 
3/ Spirit of Dark Clown 
This is something I feel to really be in the spirit of Dark Clown: Woman paints herself white Sept 2016.
https://www.youtube.com/watch?v=z4UMirLcdpM
I wrote about this in this blog post: https://www.petalily.com/blog-dark-clown-clown-plus/dark-clown-desperate-measures-hard-issues-and-distance
 
4/ More recent resonances that depict Enforced Performance,  Marginalised Emotions but which are not in the style of clown.

​The 'USS Callister' Series 4 Episode 1 of Charlie Brooker's Black Mirror Series (seen and added here May 2021) shows (Spoiler Alert) people in an extreme state of fear and oppression having to do a type of Enforced Performance. Very Dark Clown - except it Dark Comedy not Clown - not directly interfacing with/implicating the audience.

Orange is the New Black Episode 5 season 4 ‘Litchfield’s Got Talent’ – not clown but …
‘The prisoners have taken over the prison. On a high, they decide they want the COs to perform a talent show for their enjoyment. The "talents" include singing from CO Dixon, a Mormon-themed magic show from CO Blake, an Italian monologue from Josh (that nobody can understand) and a strip show from CO Stratman. – not clown but wonderful moments of Enforced Performance., people jettisoning their dignity and having to sell themselves out.
 
Again, not Clown but - In ‘Great News’ season 2 episode 3 ‘Honeypot’ there is one scene where a man forced to dance in front of Tina Fey as Diana – specifically the brief scene in which the male character is called Wayne.
 
Anna Jordan’s play ‘Chicken Shop’ begins with a tired, fearful, hopeless woman having to perform sexiness for her pimp. She is trapped in sexual slavery – I found the play devastating. 

Laure Calaml in her character of Noémie Leclerc  in the French Series 'Call My Agent' does a wonderful piece of talking while crying. I think this is S1, ep4.

The games in Squid Game early on follow the principles of my line-up exercise, which is mentioned within this previous post.

Denise Stephenson's show 'Finding Melania' is a Clown Bouffon style show -  Melania is not really presented as oppressed, but I found the show had a wonderful effect of implicating the audience! 

Someone recommended Peter Barnes play: ‘Laughter’. I have started reading Barnes' play Red Noses about clowns during The Plague. 

You can also look at the circus show 'Strange Forces' - where I devised and directed the linking pieces inside the Graduating showcase in a Gentle Dark Clown style. Go here to see it on YouTube.

5/ What I talk about when I talk about Dark Clown (just a reminder)
The Dark Clown work I have been exploring and teaching since the mid 1980’s is not Killer Clown or Scary Clown or Crazy Clown (e.g. The Joker) or Creepy Clown or Bad Clown or Grumpy Clown or Sleazy Clown or Cynical Clown. It is rather a comedy of suffering - where the performer offers up not silliness or cheekiness or joyfulness or other qualities often seen when a performer is in Red Nose clown state; but a range of human experience and expression that is on the darker end of the continuum: shame, horror, terror, disbelief, guilt, desolation, despair. All the indignities and failures undergone by Dark Clown are not (like those of the Red Nose Clown) offered up for the audience’s delight, or shadenfreude, but accessed and presented for the audience to witness and to feel implicated.
 
Red Nose Clown is luckless, hapless; but can, through a creative or rebellious streak convert failure into triumph. Dark Clown is disempowered, under constraint or force and without recourse to any possibility of rebellion or escape and any creative solutions there may be come at a cost – (either punishment or most effectively, the punishment of another) causing the Dark Clown either pain, guilt or shame.
 
A fuller explication of Dark Clown work is given in my paper Comedy of Terrors – Dark Clown and Enforced Performance delivered in 2011 at Bath Spa University. A list of differences between Red Nose and Dark Clown are available on request.
I also wrote material on Dark Clown for Jon Davison's book, Clown - a reader in theatre practice, Palgrave MacMillan I mention it in this blog post: https://www.petalily.com/blog-dark-clown-clown-plus/the-comedy-of-terrors-dark-clown-enforced-performance
 
6/ Here are some other resonances I have collected over time:
Not all of these are married specifically with laughter creation or with clown.

The harrowing film ‘Funny Games’ is interesting. Michael Haneke has perpetrators who play comedy and a victimised family who play real suffering. It’s harrowing. It is different to Dark Clown though, because 1/ not done as a Clown piece and 2/ because the performer of Dark Clown must play the tragedy and suffering together with the comedy i.e. use skillful rhythm and audience management to provoke laughter. The aim is to create the kind of laughter where the audiences laughs but asks - 'should I really be laughing at this?'

There is an excellent film called ‘No Man's Land’ – directed by Danis Tanović  Bosnia & Herzegovina, 2001 - a Black Comedy about being trapped in an impossible situation - which is very good. directed by Danis Tanović. It is a co-production among companies in Bosnia and Herzegovina, Slovenia, Italy, France, Belgium and the UK. The film won the Oscar for Best Foreign Language Film in 2001: http://en.wikipedia.org/wiki/No_Man%27s_Land_%282001_film%29

One participant mentioned that I should read ‘The Long Walk’ by Richard Bachman, a pen name of Stephen King. I read it – you may find it possibly interesting for atmosphere…raises a question for me as to why the young men choose to walk (deluded? rather than forced, but once they are signed up, there they are definitely enforced).

People sometimes are reminded of the film ‘Life is Beautiful’ – a film that successfully mixes comedy with a horrific setting – in the story simple human ingenuity overcomes horror. I imagine the audience mostly feel pity, horror and uplift.  I don’t think the film aims at the same implication of the DC work. It seems to me to be more a Red Nose Clown in a dark context. I need to see it again.

7/ Exploration
With the students of the Acting Collaborative and Devised Pathway at RCSSD, we explored Red Nose Clown and Dark Clown sharing the same world - very interesting experiment! I wrote a blog post on this: https://www.petalily.com/blog-dark-clown-clown-plus/when-red-and-dark-meet
 
8/ Other random thoughts – of interest for varying reasons:
 
In Tibetan Buddhism, there is a practice where horrors are contemplated as a way to enlightenment or compassion. Blog post: https://www.petalily.com/blog-dark-clown-clown-plus/on-tibetan-buddhism-horror-and-dark-clown
 
Martin Sherman wrote a play set in Dachau called ‘Bent’.
 
Robert Le Page’s ‘Seven Streams of the River Ota’ has a section depicting artists in a concentration camp.
 
I admire the use of the lack of fourth wall  in Forced Entertainment’ show – ‘Speak Bitterness’. I wonder whether ‘Speak Bitterness’ was influenced by Peter Handke’s play ‘Offending the Audience’ is interesting and obliquely assonant.
https://www.youtube.com/watch?v=2jRPcQpOlwU
review 2018 https://www.villagevoice.com/2018/07/14/batshevas-version-of-offending-the-audience-mirrors-our-cultures-fractured-discourse/
 
There is a scene in Italian film ‘The Great Beauty’ where a young girl is forced to do a painting to entertain her wealthy parent’s guests. She paints and sobs.
 
Someone mentioned to me Enda Walsh’s play ‘The Walworth Farce’ as having some kind of relevance or resonances, but I have not read it yet.
 
There is a heart-breaking story of enforced action in ‘The White Hotel’ by D M Thomas
 
The Ernst Lubitsch film ‘To be or not to be’ has been recommended to me – it’s an intelligent satire set in WW2 (but not having the flavour of implicating the audience) http://en.wikipedia.org/wiki/To_Be_or_Not_to_Be_%281942_film%29
 
‘Scaramouche Jones’ by Justin Butcher – the titular character is born with a clown-like ‘white face’ and storytells his life. Black humour and Tragedy are juxtaposed. I have not seen a live production.
 
On the nature of human kind’s lack of ‘humanity’ ‘Blindness’ by José Saramago is a very good read.
 
‘Far Away’ by Caryl Churchill has a scene of a fashion parade, which some students have mentioned makes a kind of resonance – the 2020 production at the Donmar (run sadly cut short by COVID-19) captured the Enforced Performance of this moment very well – one of the performers was a student of my Dark Clown work.
 
Concerning the Armenian Holocaust and enforced actions, the film ‘Ararat’ is devastating.
 
Just a beautiful film on the Holocaust by a Hungarian film maker ‘Fateless’ (2005) "Sorstalanság" (original title) – more of an essay on the ability of the film’s protagonist to see beauty and kindness amidst all the horror – an antidote to Dark Clown!
 
Hanoch Levin is an Israeli playwright whose work is existentially bleak – his works are currently only available in a poor translation.
 
Enforced Performance in ‘Goodfellas’ - Joe Pesci forces a boy to dance by shooting at his feet. 
 
People who had not done my workshops suggested the Company Derevo – I only managed to see one of their shows – I am not sure how to describe it (dramatic, tragic, abstract) but it is not what I call Dark Clown. http://fringereview.co.uk/review/edinburgh-fringe/2010/derevo-harlekin/
 
A concise description of the psychology of the perpetrator – not my point of focus with the Dark Clown work but interesting as a philosophical/psychological adjunct (pages 12 and 13) and of the effect of having been the recipient of harsh conditions and brutality on (pages 24 and 25) in Geoff Dyers lovely book ; 'But Beautiful: A Book About Jazz’.
 
Also on the perpetrator’s mentality – this was the first book that explained to me how an ordinary official could slide into terrible deeds (the banality of evil). ’The War of Don Emmanuel’s Nether Parts’ by Louis de Berniers. It is set in South America.
 
The Kander and Ebb musical ‘The Scotsboro Boys’ has chilling scenes – the nightmare about the electric chair, the ‘I don’t know nuthin’ song is a perfect example of someone forced to sell themselves out in an attempt to save their lives. There is the element of Enforced Performance, in the bitter Minstrel show which the show uses 'turn(ed) on its head' to point up the horror and ghastly injustice in the story.
 
I am a fan of ‘In Bruges’ but when I saw Martin McDonagh’s play ‘A Very Very Very Dark Matter’, I was very very very disappointed. I dissuade Dark Clown students away from the grotesque and the satirical. I felt this review was spot-on: 
http://exeuntmagazine.com/features/dark-matter-limits-satire/
 
Maguy Marin’s work has resonnances in its depiction of oppression and abjection - expressive, existential  and soulful. 
https://www.youtube.com/watch?v=Wc7D_t5mtTc
 ‘Daughter of Spanish immigrants, her work is a joyful and furious punch in the face of barbarism. Her career and his political positions lead to audacity, courage, combat. The journey of the choreographer Maguy Marin, a vast movement of bodies and hearts, an adventure of our time, immortalized and transmitted in turn by the image of cinema.’
https://www.youtube.com/watch?v=Z8RLTh20Fow
 
There is also the sad true story of North American Native peoples having to perform their cultures in shows for the pleasure of the dominant culture, the people who had decimated their culture. Enforced cultural performance – people were offered the option of performance – or prison. Buffalo Bill hosted the shows. Hock E Aye Vi Edgar Heap of Birds explains: http://www.youtube.com/watch?v=MRutY6Yy5WE
 
‘Son of Saul’ – not seen yet  By László Nemes. John Patterson in Guardian guide says it ‘abuses neither history, memory, nor the audience itself. That may be a welcome first in Holocaust dramas. He also said that Life is Beautiful and Jakob the Liar, which claimed to look yet saw nothing beyond banality, kitsch and false comfort.
 
There is a depiction of ghastly existential hopelessness for the character played by Gael Garcia Bernal at the end of the film ‘Desierto’
 
I included  Brecht’s 'The Baden Learning Play' in Portuguese company Meta-Mortem-Phase’s production of ‘Bertolt’. Wonderful clown vehicle exploring inhumanity.
‘… the interpretation is ‘clownesque’, spiced with erotic interludes. A genius moment is the mutilation of a man by two women, a grotesque scene which brings together the Brechtian art of the parable with the desperate laughter of Beckett.’ ARTES & ÓCIOS do PÚBLICO, PORTUGAL
 
Regarding the owning of shame 
This is from wikipedia, about the Native American clowns Heyoka: "Principally, the heyókȟa functions both as a mirror and a teacher, using extreme behaviours to mirror others, and forcing them to examine their own doubts, fears, hatreds, and weaknesses. Heyókȟa have the power to heal emotional pain; such power comes from the experience of shame—they sing of shameful events in their lives, beg for food, and live as clowns. They provoke laughter in distressing situations of despair, and provoke fear and chaos when people feel complacent and overly secure, to keep them from taking themselves too seriously or believing they are more powerful than they are."
 
Recent historic events (continuing proof that 1984 is alive and well)
After the horrors of the Holocaust, The Cultural Revolution, Pol Pot’s regime, Argentina’s Dirty War… inhumanity continues e.g.:
https://en.wikipedia.org/wiki/Persecution_of_Falun_Gong
‘At a police station in western Beijing, Ouyang was stripped and interrogated for five hours. "If I responded incorrectly, that is if I didn't say, 'Yes,' they shocked me with the electric truncheon," he said.
Then, he was transferred to a labour camp in Beijing's western suburbs. There, the guards ordered him to stand facing a wall. If he moved, they shocked him. If he fell down from fatigue, they shocked him.
Each morning, he had five minutes to eat and relieve himself. "If I didn't make it, I went in my pants," he said. "And they shocked me for that, too."
By the sixth day, Ouyang said, he couldn't see straight from staring at plaster three inches from his face. His knees buckled, prompting more shocks and beatings. He gave in to the guards' demands.
For the next three days, Ouyang denounced [Falun Gong's] teachings, shouting into the wall. Officers continued to shock him about the body and he soiled himself regularly. Finally, on the 10th day, Ouyang's repudiation of the group was deemed sufficiently sincere.
He was taken before a group of Falun Gong inmates and rejected the group one more time as a video camera rolled. Ouyang left jail and entered the brainwashing classes. Twenty days later after debating Falun Gong for 16 hours a day, he "graduated."
"The pressure on me was and is incredible," he said. "In the past two years, I have seen the worst of what man can do. We really are the worst animals on Earth." 
 
 
 
Peta Lily © 2013
Updated 2020
 
Appendix: Video links 
Peta Lily course teaching:
Dark Clown - http://youtu.be/lfipLaQ01AI
Red Nose - http://youtu.be/eO9LncnnRmk
2013 Degree Show at Circus Space – hosted by a Dark Clown ensemble – Strange Forces praised by Lyn Gardner http://vimeo.com/74054956
A Dark Clown inspired show I directed for writer Performer Robbie Gringras ten years ago: https://www.youtube.com/watch?v=MX650lWQZbI
Clowns and Power Symposium at Circomedia 2015  https://vimeo.com/143601205
Documentary: 'Dark Clown; Taking Laughter to the Limits'. The film, made by the remarkable photographer and documentary filmmaker Robert Golden is 26 minutes long and traces the journey of taking a group on the Clown & Dark Clown Course journey, from the light to the dark. https://vimeo.com/203375301
Peta Lily in performance – various clips, unrelated to Dark Clown on my youtubechannel: https://www.youtube.com/channel/UCOgEB33xdaSrP-MW7IGJM6g
From my Costume in Performance work at London College of Fashion, this piece The Government Inspector - Myrto Sarma designed and realised this Costume Design explored a marginalised, victimised character. ‘Her transparency and her continuous presence stand for the phantom- spectrum of a dead democracy. Her clothes have the colours of a wound, she has decorative elements of stitches , and ripped tights instead of lace.' Not clown, but a marginalised figure.

Trigger warning: genocide

Recently, after I posted a new instalment of this blog, a Clown & Dark Clown 'graduate' wrote to me.

She said: 
'I’m extremely excited about the Dark Clown book you are writing. Your workshop is still as vivid as ever in my mind and that was 10 years ago. Since then I’ve been deeply involved in teaching storytelling/theatre-making for social justice, a journey that has led me to Rwanda five times. I took an intensive course, the “Harvard Program in Refugee Trauma” (HPRT) through Harvard’s medical school. The course - which deals with trauma and recovery - had direct ties to storytelling and I needed to know more. 

'So much of what I’ve felt, stories I’ve heard - the absurdity behind fear, hatred and violence - has been processed into numerous dark clown scenes in my head ... I found it was useful to do that, just to process the insanity and learn to walk with it. Right now I am working on a Master in Education and I’ve been making loads of connections between teaching and red nose clown work, also. Thank you for your work, it’s left a lasting impression on me and became a tool in my everyday life.' - Ongoing-Learning Educator and Theatre-Maker who focuses on Social Justice Education and Kinesthetic Learning

The Course Participant has asked to remain anonymous – I am going to call her Sandra. The course she attended was set up by a host (Lyndi Smith) and took place in Coventry. 10am – 5pm Monday 12th to 16th April 2010.  Just a side note as I look at my files, I see that this was back in the days when I promoted Dark Clown with this description: ‘ A chance to play with a darker kind of humour … an experiment with the edges of laughter … a way to create clown characters and performing ensembles with more edge and relevance … a way to update the sweet and poetic image of the clown … a way to make a more exciting and demanding rapport with audiences ...’

After hearing - in a FB DM exchange - that 'Sandra' found the Dark Clown work helpful to  ‘process the insanity’, I was compelled to contact her and we set up a Zoom chat.

When we connected on Zoom, Sandra first spoke about the Clown part of the week-long course. With a photographic memory (or perfect note-taking and subsequent application)* she recalled techniques she learned on the course and now uses regularly, although not under the name of ‘Clown’: e.g. dancing with different parts of your body and the point-and-name exercise which I learned via the wonderful Niall Ashdown. She appreciated the benefits of the work, saying that for her these exercises ‘slowed down time’, enabling greater ability to appreciate how your body is sharing your story and how you are connecting with your audience. She mentioned, too, how memorable the work was – ‘you can’t forget about it and go back to the old ways’.  
 
Sandra said that the Clown & Dark Clown course provided her with ‘a way to look with an innocent eye'** even when in unsettling situations such as looking at the bones of victims in what was Nyamata Church and now is the Nyamata Genocide Memorial Centre.' (Remains are now being stored out of sight).

The Clown's curiosity was helpful too - Sandra found that ‘curiousity diminishes fear’ and felt that this allowed her to simply ’be’ with the Horrific.  She said: ‘I was asking myself – how does one respond in order to be with this? And I realised I had prepped for this. Clown work heightens the senses and slows things down and that made it endurable ... listening to the stories people recounted of rape, of being made to dig their own graves. Through the Dark Clown work, I had had the opportunity of experiencing in a safe learning space - a way to imagine and embody humiliation, despair and shame and fear.'
 
Like me, Sandra appreciates that the response of anger and outrage is the ‘tip of the iceberg’ and that underneath are the Marginalised Emotions*** such as self-loathing and mistrust. These are not emotions anyone would logically choose to experience, but they can remain life-sappingly trapped if one is unwilling to look at them, or, to use Sandra's expression 'walk with them'. 
 
'Through the lens of the Dark Clown work I was able to see the component parts of the situations, examine what I was hearing. The fact that I walked the Dark Clown scenarios helped me stay settled and grounded in the face of absolute darkness and look at my emotions in a curious way. I could see things, too, from a variety of perspectives, see it as theatre and imagine: what would be like as a performer to perform this? What would the victim do in response to the perpetrator’s actions, what would the bystander/onlooker do? And my training at Harvard supported this.’****
 
I was gratified to hear this, reinforcing my own instincts that being able to Witness the detail in the Desperate Predicaments of the Dark Clown work had a benefit and validity. The aim with the Dark Clown work is that the player is able to pretend well enough so that we in the audience experience the Palpable Cost of contemplating a horrific choice - for example: someone playing in the line-up exercise is given the instruction to decide who in the group will be punished. ***** In the playing of the exercise, the aim is that the audience see: how the prisoner/player looks being given the alarming instruction, their panic/conflict/desperation while considering making the Impossible Choice and then how they look afterwards - experiencing shame and horror that they complied. 

We get to see and feel these moments clearly, broken down -  as contrasted with, say, a horrific situation being delivered in an opaque chunk (e.g. as one might read or hear the fact that people were forced to select who died and survived). When presented with a ghastly fact / event / news / story, it is natural that the nervous system shies away, retreats. There is aversion and a level of numbness. (We might even feel that it might be morbid to take time to imagine such a thing.)
 
And as a side note – the audience of the Dark Clown is (via the comedy craft) is encouraged to make a sound – a laugh (albeit a Troubled Laugh) which provides the opportunity for some release as opposed to the hushed reaction ’don’t look’; an alternative to silence, shutdown and holding in. 
 
Sandra further values the contribution of the Red Nose Clown and its 'pulse of empathy'. She mentioned Rwanda's emphasis on forgiveness and reconciliation and that she had encountered perpetrators who had confessed, experienced a process of contrition and who are in the process of making reparations. She found herself in situations with these people and she found that she was able to just be with these people, to humanise not demonise them - to imagine them in the darkest and scariest moments, making the regrettable choices that they made. Sandra said that ‘curiosity and the pulse of empathy had helped me connect to the darkness and joy in another, and learn that in spite of the Horrors, there is common ground: these folks were parents, grandparents, farmers, enjoyed jokes and dancing.’

Sandra also said that Clown & Dark Clown work has also played a part in her own healing (including therapy) from vicarious trauma, accrued over the years (by being able to use the Red Nose Clown’s ability to access joy, to find relief and provide a thinking and feeling space via curiousity). Sandra again mentioned the value of Red Nose Clown providing ways for her to ‘refill’ on compassion (many care workers experience empathy burnout).

Back in the context of my open workshops for theatre practitioners, I shared with her a new practice I have installed on the Clown & Dark Clown course (when I sense it is needed or might be about to become needed). I invite participants to enter Red Nose state and to find a piece of wall or furniture and to comfort it e.g. 'it will be ok, you're doing really well. Yes it's scary but there are still donkeys ...' etc. Sometimes I instruct them to reassure or apologise to the floor and walls: 'I'm sorry you had to see that. It was dark, wasn't it?'
 
Sandra again expressed her good fortune that fate had led her to the work ten years ago: ‘When else do we get the chance to encounter the Marginalised Emotions except when it happens to us?' In the workshop we have space and are encouraged to have flexibility and are called to employ a shifting viewpoint, and shifting modalities of awareness. She said she felt that the Dark Clown work was ‘bigger than a performance practice – it is a practice for life, giving guidance, a kind of map to navigate the Horrors.’ 

I currently do not and would not offer the Dark Clown work as anything other than a theatre arts practice although a couple of course participants who were therapists have commented on the value they felt the work offered and mused on its further potential. (It is not a goal I am aiming towards, but perhaps, at some point in the future, the Dark Clown work might find a place as a component contained within a larger training programme led by a care-worker programme or some kind of well-supported teaching  or psychological training programme.)

Like me, Sandra saw that this is not work for the already traumatised. They have had the encounter with Horror, they need different help to recover. But it may be possible that for future care-workers, the Dark Clown work may offer valuable benefits.

Meanwhile, there are those of us who, although we have not been as close to experiences of large conflict, are still being remotely affected by world events - in the news, on our Facebook feed and as we walk the streets witnessing people living in destitution. At a daily level, we are not given time to deal with any feelings we might have about dreadful events in this world that we know ourselves to be a part of. *******
​Many participants report gratitude for the side benefits of the work:

'I have learned to better recognise how and where these emotions sit in my physical body, to better label and understand their influence on my being. Once labelled and located, they are better explored with the opportunity for release or conscious use to transform. I now have a process allowing me to hold on to what is useful, work through and release what is not.' - Course Participant

I aim to hold the Dark Clown work as ethically as I can. Please do see the helpful FAQ's for the work. The work walks an edge. But, like many theatre practitioners, I have an interest in inner and outer humanity and I feel it is an edge better looked at than ignored. Hence my being gratified that this particular course graduate's felt similarly and articulated her thoughts so generously and well.

For clarity's sake, let me repeat: I currently do not offer the Dark Clown work as anything other than a theatre arts practice.  Read more here.
 
*I took copious notes on my first workshop with Philippe Gaulier and Monika Pagneaux – I was magnetised by the enlivening, mysterious, de-mystifying work these masters were offering and that influence has been enduring, even as I mixed it with other theatre forms and bodies of knowledge.

​** one could also say ‘beginners mind’

*** What are the Marginalised Emotions? Imagine a horizontal line. If human expression were expressed as a continuum, you might have joy way over there on the right, and, if we are talking Red Nose Clown, we might have expressions such as silliness, loveliness, pride, bashfulness relatively nearby. As we near the centre of the line there may be grumpiness, crossness, even anger. But what about the other half of the line? Now we are heading for the expressions of the Dark Clown, what I call the Marginalised Emotions – such as: hyper-vigilance, fear, distress, shame, anguish, regret, guilt, humiliation, indignity, disbelief, grief, shock, absurdity, desolation, despair, physical pain, horror, terror and existential dread. (Listed in no special or incremental order).


**** Having had some access to Holocaust training, I avoid any role play focusing on Perpetrator / Victim scenarios. Where there is a player representing a guard, I limit their participation strictly. I say: In this work we are not interested in the Perpetrator, we are interested in the person being given the opportunity to release via the Predicaments into the Marginalised Emotions and to believably but strategically play there in order to affect the audience. If the person representing the guard needs extra clarification, I invite them to imagine that they need to ‘do their job’- they need to vigiliantly watch the audience and the prisoner otherwise they could easily be in the prisoner’s place. I read in that Maria Alyokhina (Pussy Riot Member) in her book Riot Days  describes how the guards had found it very effective to delegate certain prisoners to police the others (in order to gain back privileges - 'privileges'- which had been inhumanly denied them).  

***** Line-up exercise – see the post on vulnerability.

****** Hannah Arendt’s concept of the ‘Banality of Evil’ articulates people doing beyond dreadful things in the name of doing their job.

******* In her excellent book, The War Hotel, author Arlene Audergon points out that the world has a tendency to want to separate off and see countries where ghastly conflict has taken place as ‘tribal’ or ‘civil’ war, rather than being situations where people were manipulated and divided by politics towards unthinkable ends.

implicate verb [T]   
UK   /ˈɪm.plɪ.keɪt/ US   /ˈɪm.plə.keɪt/
to show that someone is involved in a crime or partly responsible for something bad that has happened.

Implicating the Audience
I use the term Implicating the Audience to refer to the Dark Clown practice where the performer or ensemble manage to create the conditions whereby the audience feel that they are somehow 'on the hook'. Although all audiences know that they paid for their ticket and walked in to watch a composed portrayal, they can, via the suspension of disbelief, feel conflicted or shamed in their witnessing and even to a degree, culpable. While no one may actually think: 'Oh my, I must rush on stage and help these people', they feel compelled and conflicted that 'It is not me suffering over there.' 
Allied to this is the Dark Clown concept of Troubled Laughter whereby the audience laughs and at some level feels implicated by their laughter.

Inspiration for Implication
In 1980, the seminal Lumiere & Son Theatre Company created a show called Circus Lumiere.* It was performed in a custom-built five pole tent. The whole show was memorable and ground-breaking, but there was one particular scene which left a marked impression.

What follows is an account of how I remember the scene ran. 

Two clowns appear in the ring. A big one and a small one. The show so far has been action-packed so their stillness is intriguing. They wear rather traditional clown costumes. They are looking at us, the audience, and they exchange looks between themselves. The audience laugh because the clowns seem non-plussed; inert, nervous and indecisive. Aren't clowns meant to somersault and bound out into the ring?

Whenever we laugh they turn to us and back to each other again, with some alarm in their eyes. They are intent, alert. It is only in retrospect that we realise they are making a difficult decision.

The tall clown turns his head but he is not looking at the small clown. We now notice there is a trestle table onstage (in the ‘ring’ of the circus tent) and on it is a large rectangular item with gauges and dials. It looks to be a piece of electrical equipment. The little one is looking at it now, too.

The audience has been nicely set into a habit of laughter and each head turn is a laughter nudge. The big one walks slowly towards the machine and picks up something connected to the machine. He returns to his position beside the small clown. We realise the item is a cattle prod.

We laugh and think ’oh no!’ But we have laughed and that is clocked by the clowns. (Had we made any other sound or no laughter, they still would have clocked us - we are still sitting in our seats and they still would have been obliged to continue -  ‘the show must go on’).
 
The little clown receives an electric shock and jitters about in a startling but ridiculous way. He composes himself afterwards but it looks like it was not a pleasant experience. We laugh – out of surprise at what happened; as a release from the cleverly built up suspense; and in unconscious mirroring of the rhythm of the little clown's movements.
 
The big one looks at the little one, in some discomfort. The little one looks at the big one. We laugh again, nervously. The little one clocks this and the little one looks at the big one with an expression of some urgency. (‘If they liked it once, they should like it again’**) – the little one is now in the absurd predicament of using his eyebrows to actually encourage the big one, who looks a little traumatised. The big one hesitates but again applies the baton to the small one, who again receives the shock and jitters about. According to the rule of three, all this happens again. With repeated laughter from us in the audience.
 
The clowns look at the audience, calibrating. They look at each other. With some head turns their eyes don’t connect because the other clown is looking at the audience. The uncertainty is prolonged. Eventually they share a look. 
 
The big one walks again to the table. Will he put down the prod and do something else?
 
No, his hand reaches out and he touches a dial … Why did we not imagine this? ... and turns it up. And we laugh. We are 'on the hook': because of us, the small clown will suffer more. We did not bray for it ... but our laughter (and the clowns’ submission to their role) means the small clown must suffer because of us. Our 'guilt' and gut-punch groans of 'remorse' makes our laughter richer. We laugh through multiple shocks. It is truly hilarious. It is not a cruel laugh, it is a conflicted laugh - we know it's a piece of theatre but the clowns are played so well that we feel somehow guilty.***
 
Performing Pain 
Hilary Westlake, co-founder of Lumiere & Son Theatre Company (working closely with writer David Gale) was very astute at finding the essence of the thing she was exploring. With the Big and Little Clown segment they had asked 'What Are Circus Clowns?' and decided that, as traditional Circus Clowns perform a lot of slapstick (the giving and receiving of hits, slaps, pushes and falls) that their job could be in essence to  'hurt and be hurt for the audience's pleasure'. When Hilary directed a piece called 'Wounds' for Three Women Company (the theatre I co-founded in 1980 with Tessa Schneideman and Claudia Prietzel) she decided that what makes women different from men. That we bleed. We performed in white costumes and boxing boots and the stage action was punctuated by the appearance of blood. From a breast, from a mouth, from a crotch, finally raining down from inside an umbrella. 

*Director and company founder, Hilary Westlake has archived Lumiere & Son's work. You can see the programme for Circus Lumiere here.

** Philippe Gaulier, live London course circa 1984

*** Associated with Implication, is another key element of the Dark Clown work - Troubled Laughter which I first experienced while watching a specific scene in Pip Simmons' thrilling and devastating production An Die Musik. I mention it in a footnote to the recent Trigger post  and also in the Comedy of Terrors post. I think it was the same year I first saw Circus Lumiere.

In the image here below, recently forward to me by Hilary Westlake, I see a section of the piece I did not remember! Here the little clown shocks the tall clown, possibly by mistake (as he fiddles with the controls) . They are both armed with prods and battery packs.

 A learning experience 
On my open Clown & Dark Clown courses, which are for 'beginners as well as the more experienced idiot', I work with physical theatre performers, circus performers, theatre directors, designers, therapists, actors, improvisers, and people with no performing experience. It's a joyful thing. Often the newcomers bring a freshness of approach. Those with more experience inspire the newcomers by showing what is possible and occasionally those with more experience have habits to undo. Everyone is there to face the new, everyone is at a growing edge.

I salute the courage of all learners. All those who choose to come on a course are opening themselves up to new learning. And learning new skills has the risk of failure built in.

​Until you've done it you don't know what it is
I have a little social media post I sometimes use: 'Until you have done it, you don't know what it is.' I guess that statement could come across as a nice little marketing ploy, but, really it's a helpful piece of information. 

The post 'Comedy of Terrors' gives a snapshot of my Dark Clown work.* And there is extra information on recent posts such as the one describing an exercise called Selling Yourself out to your Enemy and the one on Consumer Guilt.

So what actually goes on in a Clown & Dark Clown course?**
I am in the process of writing a book on my definition of and approach to what I call Dark Clown. The other day  was aiming to succinctly sum up the learning journey on a Clown & Dark Clown course.
​
Here is what I got:

'The complete beginner will learn play state, how to play with the other, clown state, audience awareness and the beginnings of audience response and the 'more experienced idiot' reviews this early material. Building on from that, the group learns to develop an awareness of principles and techniques of comedy and then to develop an agility with these principles and techniques.
With this established, the student/performer of Dark Clown is trained to create and to release into believable and engaging representations of Marginalised Emotions – then to play and experiment with the representation of these Marginalised Emotions while simultaneously using comic principles and techniques.
Right from the start, in parallel with the above, awareness of and response to the audience in each present moment is also being trained.
Next, we move on to the exercises and scenarios of the High Stakes Predicaments and Dark Clown Scenarios – where the student/performer is tasked with putting all of this together in order to affect and hopefully Implicate the Audience, so that the audience get to experience Troubled Laughter i.e. to be surprised into laughter and to feel troubled by their laughter.'

It's a lot to get through. It's a tight curriculum for a two-day course. 

Preparing for the  learning experience
 At the start of the course, I remind course participants that any new skill comes with challenges and unknowns. I aim to (and have been told that) I 'teach with a good mix of encouragement and challenge.' I seek to empower, for example, by aiming to demystify the 'rules' of comedy. I expressly dedicate the course hours as a learning experience and also as a human experience.*** In both the Red Nose and the Dark Clown sections fo the work, I am transparent about occasionally stepping in to the role of the 'Grumpy Clown Professor' or using my voice to shout out commands as if from a darker authoritarian voice.
Once we have covered Clown State, I say, 'In this exercise, please do stay in Clown State. If you pop out of state, no shame, but the exercise may come to a halt and you can have another go later. You the course participant are allowed to leave the exercise if you choose but you will get the most benefit by dealing with the Grumpy Clown Professor's hectoring while remaining in Clown State.'

When we make the segue to the 'Dark Side' part of the work, I give a talk which outlines the aims and ethos of the work. I emphasise their will be no emotional recall - the work is not at all about people being  called on to search in their own inner darknesses. The talk also explains that we will progress through a series of tasks which develop various aspects needed for playing Dark Clown. I also give frequent explanations of the purpose of each exercise or task, and with some exercises check - 'Are you still willing to do the exercise?'

Always articulating the work 
Over the many years of teaching my definition of Dark Clown, I have incorporated extra steps and clarifications in order to keep the teaching space a clear arena for the aims and vision of the work as well as to create and maintain a worthwhile learning experience for practitioners.

When advertising my open courses, I aim to be clear about the outcomes on offer and to articulate both the fun and challenges of the course. I prefer people come to the work with an open mind (beginners mind), but over the years it has become necessary to include an extra level of clarification regarding the Dark Clown work.

I now include FAQ's about the work with the booking information. As I say in the post titled Resisting Vunerability, - ''Dark' describes the work rather well.'

Opening up and the possibility of upset
Over all the years, the vast majority of course participants have found and reported the work enlivening and many say, 'I have never laughed so much on a course'. But every so often, someone has an upset while on a course. 

Anyone who has taught acting or been an acting student knows that there may be confrontational moments for the student. The actor (and the performer) needs openness and when we open, when we let go of holding patterns - there can be stuff that has been contained which may leak out. Upset is not a required step in the process, but occasionally (comparatively rarely) it happens and so I have put in place a basic and practical methodology for dealing with upset. ​****

I worked at a Clown school in Europe and was articulating the 'Upset process' I use to the course booker. They suggested that I might work with people's upsets (they, in their own practice, had a methodology to do that - also a course time of much greater duration).

The Dark Clown work is dependent on the creation of laughter and it is crucial to maintain the conditions for laughter in the room. So while I encourage openness, unmasking and spontaneity, and while I deeply value personal growth, while teaching a Clown & Dark Clown course, my energies are pointed on the discipline and technique of the work rather than the inner journey of the participant.

While there may be an individual experiencing a confrontational moment, there will also be 15 - 17 other people on the course, who are ready and raring to move on to the 'Dark Side' and get a full introduction to Dark Clown work.

Who gets upset at what?
Over all the 30 years of teaching this course - the moment of upset and the precise cause of the upset is always totally unique and personal. 

Here is the amazing Jack Halberstam (author of the brilliant 'The Queer Art of Failure') speaking On Behalf of Failure at the Summer School for Sexualities, Cultures and Politics (organised by IPAK Center, held in Belgrade August 2014). 

I love Jack because he understands the function of humour and its role in presenting or crafting viewpoints that are not part of the reigning paradigm. he also speaks of his belief of the value of surprise as an element of pedagogy, but that's a side note here. 

At 20.41 in this talk he begins to speak about Trigger Warnings - while he applauds sensitivity he also asks whether we being 'careful in a way that is absolutely squashing our ability to also be creative and to communicate.' He then goes on to talk about the origin of the term Trigger Warnings, from its usage in the early online community, and how the term morphed as it segued into a new context. It is now something that (in the USA in particular) students request that professors put on their Syllabi.
Jack finds this problematic because:

1/ to be warned about content in an aesthetic context goes against his pedagogy of surprise (learning is an adventure). As I understand it he means that reveals can cause memorable paradigm shifts - real learning is an experience, not a list of facts.

2/ it's not easy to predict a Trigger - Trigger is usually buried content - and unpredictable, not obvious or linear, for example a random sound that accompanied a traumatic event. He gives the example that one would need to list unforseeable, incidental details e.g. 'a sound screeching tyres'. Jack says that to equate trauma and trigger is a gross simplification.

3/ JH teaches a class on the Holocaust over some several weeks. 'I can't warn you about content in the Holocaust - you should be disturbed by the content of the Holocaust'. The Holocaust was an event of uncountable and unrepresentable horrors.
JH recounts how there were complaints of lack of Trigger Warnings when he showed the film 'Night and Fog', but when he showed 'Triumph of The Will', which shows Fascism played out - there was, unnervingly, if you think about it, not a single complaint.
Jack quips that 'the seduction of Fascism should come with a warning' - and goes on to muse how modernism has represented symmetry as good and right - so, again unnervingly, the crisp formation of marching fascist armies contain an unconscious appeal because symmetry is embedded as an aesthetic form inside our consciousness.
JH quips that he would really like to see a Trigger Warning about 'the seduction of Fascism.'

Coming back to my own Dark Clown work, I wrote in Rehearsing for Darkness:
'I aim to hold the Dark Clown work as ethically as I can. Please do see the helpful FAQ's for the work. The work walks an edge. But, like many theatre practitioners, I have an interest in inner and outer humanity and I feel it is an edge better looked at than ignored.'
​

* My vision for Dark Clown has key inspirations - one scene in Pip Simmonds' breath-taking and courageous show An Die Musik in the early 1980's. The big and little clown scene in the seminal Lumiere and Son's Circus Lumiere, and the devastating film They Shoot Horses Don't They? (albeit the film is neither clown nor comedy). Often people think the work I do follows a lineage. It doesn't. It began with experiments and developed via teaching and a few theatre productions, for example this one, over the last thirty years. As there are many types of Clown, there can be many expressions of what people might  explore under the name of dark clown. 

** I have now standardised that my specific approach to Dark Clown work is taught in the first instance on a course called 'Clown & Dark Clown'. There are many reasons for this, and I now always bill the course this way, even when the participants all have a pre-existing Clown training. One basic reason for this is that there are no guarantees that everyone has the same Clown training. Another reason is that, while Clown practitioners can be well-trained, they are still unacquainted with many of the comedy craft techniques necessary to the Dark Clown work. Another reason is that any group needs to relax and develop the ability to play together first, and this works well in Red Nose Clown mode. A further reason is that the imparting of key comedy principles can be accomplished more efficiently in Red Clown mode also. Also, I find it helpful (I could even say essential) that the group establish a sense of ease, trust and fun in working with both teacher and other group members, before we move on to the Dark Side and I find that the Play State/Red Nose Clown exercises are efficient for this. 

*** I usually begin courses saying: 'for the next several hours you are in the safest place you can be ... bar floods or other natural disasters ... (I aim to read the room before making that little joke and I add clownish body-language and light and modulated voice and smile clearly making this a joke and also adding a gesture with palms forward that reassures and eyebrows and mouth corners that acknowledge 'oops, was that scary?') ... because Comedy is all about making mistakes. And Clowns are born under a big hot-pink-neon sign saying "Born. To. Fail" - so, if, at any moment you feel you might have done something you are unsure about then give yourself a big tick! You are on mission!'
I often also ask - 'Do we give each other permission to be different from our normal selves?' and wait for and acknowledge the mutual assent. 'We are all humans here and we are all learning and any new learning necessarily encompasses making mistakes.' (I refer to the steps in the unconscious incompetence to unconscious competence model).
I also say - 'If I mention anything any one of you has done, I thank you in advance for the teaching opportunity! I figure any one of us could have had that (miming quotes) success or (miming quotes) failure - but, it was a something that happened live in the space, and we all saw it, and we can learn from it, rather than only having theoretical examples.'

**** While the Clown & Dark Clown course is a lot of fun, it requires a level of resilience. The FAQ's on the Clown & Dark Clown workshop are aimed at helping people who may have underlying issues identify whether the course is right for them to undertake. Just as a side-note, There have also been, a few instances where a course participant experiences upset in the Red Nose part of the work (again, rarely). This is not particular to my teaching and it is not surprising in general. Red Nose Clown work de-masks the individual - some of the normal ways of presenting oneself are unnecessary and unhelpful to clown work and need to be released. When I studied with Gaulier in 1984 - there was always someone crying in the pub at the end of the day after class. (Another side-note: for those more experienced, the work on the self is ongoing. Red Nose Clown work, at its best, requires an opening of the heart, which can bring forward the need for self-examination.)

Once in an Enforced Performance exercise, a wonderful clown practitioner was rebelling, resisting the commands and behaving courageously. 'I am a big guy', he said later, 'and people always expect me to be brave.'

​I explained that I will aim to discourage a performer from rebelling. The reason for this is that I aim to arrange for every course participant to have the experience of tasting / practicing the Dark Side play with the Marginalised Emotions.*
​
In Enforced Performance we are imagining a nightmarish realm where direct disobedience will receive harsh punishment. In the line-up exercise, players in role will be punished for mistakes or failure to be intimidated by being 'shot' - please see below.** Like the shout of the Clown Professor for the Red Nose Clown, the 'shot' can serve to help the player access some compelling motif of sound and rhythm and lead to a 'success' for the player. If the player is not convincing in their release into a 'believable verisimilitude of pain and distress', they may risk being 'seriously wounded' - whereby they become a provoking and poignant obstacle for the other players who are being compelled to perform the stamping dance of the line-up exercise. 

'It's really dark, isn't it?'
Sometime people come to the work and are surprised that 'Dark' describes the work rather well. Some long to misbehave, be cynical, contrary, transgressive, naughty. Over the years I have developed a set of FAQ's about the work. But many are able to understand how the Dark Clown work can provide a way to release some congested energy around atrocity, oppression and misuse of power.

Impossible Choices
Once I have 'shot' someone in such a way that they are reduced to crawling, I will side-coach them to try and stay central (usually they try to crawl off to the side). The reason for this is to serve the other players by raising the stakes for them. Once there is an injured body in the way and 'prisoners' are still trying to fulfil their task / command to come forward and then run back to recommence the stamping dance, we get to see people making 'impossible choices' i.e. 'Do I risk my life by stopping? Do I risk my life by breaking the pattern and going around? Do I risk my life by standing out in any way? Do I risk my life by showing compassion? Can I execute a clean jump over the inert body? What kind of a human being am I if I do that? What kind of human being am I now that I have done that?'

A game aimed at producing Troubled Laughter
People who are able to engage with the game without having the game's purpose obscured by any feelings of any underlying upset*** can see clearly what is at play. The exercise is designed to provide the outcome for the participants (i.e. to find out how to safely express the Marginalised Emotions; to learn how to work timing and audience awareness so as to generate laughter (engage the audience and affect their 'laughing gear'); all the while investing in imaginary circumstances well enough to portray 'a believable verisimilitude of of pain and distress' in order to create for the watcher the experience of Troubled Laughter. (Phewph).

In the interests of writing a book on Dark Clown, I created, in 2019, a questionnaire.  Question #9 asks: 

What value did the Dark Clown workshop deliver to you - what competencies, benefits or concepts did you gain?
 
An Actor / Writer replies: 

'Some of the benefits are very practical. I learned the importance of breath to a performance. That simple concept can be totally transformative - just noting that breath is something I should be paying attention to changed the way I was working. The process of waking up various parts of the actor before getting into performance was useful: getting the voice working, spending a little time making sure you’re aware of different parts of the body, and exploring how a fairly abstract heightened emotional state affects voice and body. Once you’ve explored that range - stretched out, in a way - I find it becomes much easier to perform freely.
 
One other idea I find extremely useful is that emotions like anger and resentment have the potential to be obstructive. In the workshops we were steered away from anger, self-pity, indignation etc. in favour of less defensive emotions like shame, sadness, despair. The concept that there is a line dividing what we already consider to be negative emotions is fascinating. Knowing that the territory of slightly more egotistical or aggressive emotions is liable to put up a barrier between the performer and the audience, to create antagonism, rather than letting vulnerability build pathos and evoke empathy, is invaluable.'

And question #10 asks:
How do you see the work contributing your practice?

'My acting work has already become much freer and more expressive and interesting due to this work. My writing work is also likely to change. I think the characters I am creating will be more deeply invested in their own predicaments. Of course, that seems like something that should already have been the case, but, with a lot of my work having some aspect of post-modern, ironic distance, perhaps that has become a habit. This may also be connected with the idea of performative distance and unreality that can be present in red nose clown. After these workshops I am really appreciating the value of commitment and verisimilitude, even within absurd circumstances.'
 

* The Marginalised Emotions include: hyper-vigilance, fear, distress, shame, anguish, regret, guilt, humiliation, indignity, disbelief, grief, shock, absurdity, desolation, despair, physical pain, horror, terror and existential dread. (Listed in no special order).

** To be specific, if people are not looking like they are really responding to / investing in  / embodying the imaginative situation, they are 'shot'. There is an ethical procedure for this - I address the course participant inside the Dark Clown exercise player and say - I am going to shoot you in your hand (or elbow) - do you, the player agree? Do not come out of the situation,  just nod so I know you understand ... thank you. I will say "bang" and you will make the appropriate noise. (The group have already practiced specific sound-making for a 'believable verisimilitude of pain'  in the 'Torture over Ten feet' exercise).
​
*** In the Introductory Talk I normalise the possibility of upset: 'Please know that should upset visit you, this is totally natural. It is natural because: 
1 sometimes ‘fear of the unknown’ (‘Where it this heading?’) may contribute some unhelpful extra tension.
2 the work requires an imaginative investment in some less-than-pleasant circumstances (chosen to create sufficiently high stakes for the performer to release into the impulses of Dark Clown state)
3 as with any acting class or other psychophysical performance practice, sometimes people have emotions arise when they find themselves doing iinhabitual vocal usage or physical movement (shaking something loose)
4 there may be a detail of performing or watching a scenario that may trigger a memory or emotion - (it is not easy to give trigger warnings for the work because in all my 30 years of teaching the work, each case of upset has had a particular personal origin)
5 sometimes fear arises from people’s concern that they might be making light of the terrible suffering of others – here, the most useful thing is to remember that:
It is not the intention of the work to laugh at suffering.
It is the intention of the work to provide the audience with the experience of being surprised into the Troubled Laughter.'
There is a procedure in the case of upset, I will write about that another time. 

There are two parts to this post. Trigger warnings: race, prostitution, colonialism and eek, yes a bit of a gentle feminist viewpoint.

First, an acknowledgement that, as a white educated woman, I aim to interrogate myself for the ways I may be perpetuating and benefiting from racist systems. Also to say that I aim to hold the Dark Clown work in general as ethically as I can, always being ready to learn and address new awarenesses and other perspectives as they come to my attention. The edginess of the work keeps me vigilant and I aim to hold the notions of exploitation and profiteering in mind as I write.

Part 1: A desperate response
Back in 2016, one woman responded to the reports of a disproportionate number of Police shootings of black citizens, and to the racist White Lives Matter moment which arose in response to the #BlackLivesMatter movement. According to the TYT coverage (see below) of the video, her name is Tashala Dangel Geyer.

This amazing woman posted a piece of performance art or activism online (to my knowledge, she herself did not define it in any way*). If you google 'woman paints herself white', you'll find clips of people watching the footage and wondering 'is she crazy?' (while at the same time saying she is 'serious' and also judging her as if she were proposing this as a serious 'answer'). One vlogger felt it was unhelpful to the issues at stake.

​The video and images from it are often taken down because of the small amount of nudity involved (the paint largely obscures any anatomical detail although occasionally, she turns around and we see her body without the coverage of paint). 

'If you wanna survive'
I admire what Dangel Geyer has done.
She begins with: 'This the best shit I ever could have thought of. This is saving my life! 
​... You know what, the Lord woke me up - and sent me this sign (slapping the brush to paint her inner thighs, profile view)  so I went on ahead to Home Depot and got this paint.
(Standing facing us) 'Cos white lives matter. Guess what? White lives matter. White Lives. (painting her right leg again).  Just white. White. White. White white white white.  (Exhales)
That’s the argu – never – if you wanna survive ... I’mma keep sayin’  (right palm up) go white!
Jus' go white ... Baby, I don’t want nothing brown on me.'
She continues with her message to 'Black families' and keeps interrupting herself by spotting bits of her body that she has missed. It's a classic clown predicament of solution-problem-solution-problem. She is working with repetition, interruption and rhythm. She engages her audience, too, asking the viewer to 'Hep me out' ... so that she misses no patches that would give her away. ... 'Bring in the white! Hoo, gonna be a’right' (painting left armpit) ... (waves left hand in front of her face, to indicate) 'Ronald MacDonald, man! You won’t get shot.'

Troubled Laughter 
I first watched the footage with compulsion. Her focus and commitment are palpable. I am also surprised into uneasy laughter by this woman's lively rhythms and wit, combined with the horror of the situation i.e. I am afraid for my life because of the way I look / because of the way I am -  it's not a comfortable laugh. 
In this video document, a woman demonstrates vulnerability by appearing naked live online.**
​At the same time she makes a very direct address to the audience. This piece has many elements of Dark Clown work: Troubled Laughter, Palpable Cost, direct appeal to the audience - we witness her and those of us with caucasian privilege experience Implication. Also, Dangel Geyer has the courage to allow us to witness (and experience) Marginalised Emotion - plus she possesses good comedy craft.

Distance 
Dark Clown, similar to Comedy, equals 'Tragedy plus time'. Dark Clown work (as I work with it in teaching and in dramaturgy) needs sufficient distance from the actual real life predicament / subject. Often by being abstractified into a non-specific Absurd realm (see the posts on The Maids and this review of Hamlet or Die) and / or by a distance of time.
Dangel Geyer's piece / statement / performance is very close to the bone. It is temporally immediate, dealing with ongoing race issues and pointing at the entrenched impasse between those trying to raise awareness of inequality and of conscious (and unconscious) bias and those who somehow manage to interpret #BlackLivesMatter as a threat to their own rights and validity. Racist behaviour and inequality have, in the UK have been exacerbated by Government policies of austerity and by the xenophobic media campaign in advance of Br*xit. 

... a 'sidebar' musing on spatial distance and intimacy
Dangel Geyer's piece / statement / performance exists online - the internet being a medium which can often create positive connection but which is also well known for knee-jerk, divisive reaction. It is a courageous choice of platform. There is no time here to  contrast and compare the internet with the more dream-like, contemplative space of a theatre where life can be seen simultaneously intimately, but also at a remove, except perhaps to ponder whether we can say that, as theatre offers a physiological experience of shared space in the auditorium, it may possibly contribute more to cohesion as opposed to division between watchers.

Controversy
TYT coverage of the phenomenon is in this clip together with a discussion (from a mainly white) panel. One panellist manages to make sexualised comments about the footage, even while conceding / recognising that the woman's intent was not sexual. But that is a side note to the thrust of this blog post.
​
When some vloggers who review / watch this video call her crazy, they fail to  consider that the author of the footage, Tashala Dangel Geyer may be, like Hamlet, only mad 'north-north-west'.*** She knows what she is doing, she is doing what she is doing for a purpose, for effect. Hamlet uses a smokescreen of craziness to a purpose (we are never quite sure whether it's to buy time, to be discounted, thereby making spying on Claudius more easy allow himself more licensee to say the unsayable?). We can say that Dangel Geyer  in fact is braver than Hamlet as she is saying the unsayable and taking the absurdity of a situation to a logical conclusion.
I find her piece / statement / performance bitingly apposite, witty, disturbing and also moving.

The medium (housepaint, not social media) and the message
A couple of the male viewers express concern about the paint on her skin. Rightly so  - it's housepaint. Yes, uncomfortable, unhealthy and must have been difficult to remove. She is being bold and reckless for a purpose. Using some nice pan-stick make-up would have sent a completely different message. Makeup coverage would have risked being too light and cosmetic an effect. It may have been a contributing factor that paint was more affordable than makeup. 
Paint is also a protection for wood, whereas make-up is more aesthetic, designed to create an illusion, an enhancement or possibly an enticement.
House paint is a rough and ready solution, and an accessible one. This woman is communicating immediacy and pragmatism as well as communicate desperation. She addresses her audience with urgency. Go, go now to Home Depot - a different message to: google your nearest Kryolan outlet.

Dangel Geyer is not to my knowledge a theatre maker, she is a human being responding to a desperate predicament. What we see in this remarkable creative document is a human being in extremis, demonstrating the absurdity of her situation by pretending she has discovered and is sharing an absurd 'solution'. 

Part 2: A strong challenge
The Dark Clown work provides a way to address tragic and troubling issues. The subtitle of the Dark Clown documentary is 'taking Laughter to the Limits.' Yes even the Troubled Laughter has limits - for example, it does not include Evil Laughter. More than once I have been asked if it were possible to portray the issue of violence towards women using Dark Clown. I find that a very strong challenge indeed.

On one of my Take It Further courses, a talented Asian performer  came with a will to look at the Indian equivalent of the Korean Comfort Women. She was researching women doing sex work during the days of the Raj who were kept in dreadful conditions. Wikipedia tells us: 'Although the governments of many Indian princely dates had regulated prostitution prior to the 1860s, such regulation in British India was first ushered in by the Cantonment Act of 1864. The Cantonment Acts regulated and structured prostitution in the British military bases. ... The structuring features of the Cantonment Acts provided for about twelve to fifteen Indian women for each regiment of British soldiers.'  (I can't find the specific number of men in a British regiment in the days of the Raj but I found this more recent source: 'A regiment normally contains of around 650 soldiers depending on its role.')
The performer had researched and found that women were kept in the dark in cockroach-ridden 'accommodation', and forced to service a large number of men each day - this figure of sex acts per woman per day was not given I'm the above Wiki entry; however, 650 divided by the upper number of 15 women is 43.3333 recurring).

I once read of a woman trafficked forcibly into prostitution who had, one Christmas day, been forced to service 80 men. Sorry for the downer. It depressed me too, when I read it. I was reading the article on my phone on the tube, and the number would not make itself real to me. I decided to count men I saw, innocent commuters, on my journey home, just to appreciate that number: 80.

An existential exercise
​Now that I come to write about this, I think that what made this instance work for me, this Dark Clown treatment of this particular subject was not only some historical distance, but also the fact that this improvisation was achieved in service of this course participant trying to come to terms with events that were part of the oppression of her race, her forefathers/foremothers' nation and her biological sex.

The absurd - and finding a workable metaphor
​After telling me/us (the assembled course participants) about the cockroaches and the dark and about the large number of men in a single day, I said, 'Ok. Can you think of some boring action or movement that you can repeat. And after each repetition, you will count: 'one', then 'two', then 'three', and keep going.

I was impressed at her commitment and her level of physical fitness that she chose burpees! And off she went. This performer is a very funny woman with experience in stand-up and improv. She did those burpees: down out, squat, up 'one.' Down out, squat, up 'two'. We could see and sense the cost almost immediately. Down out, squat, up 'three.' She had also come dressed in a saree ... unhappily. In the pre-course interview, she told me that she had enrolled on a course with Philippe Gaulier and that he had suggested that she come back dressed as 'Mrs Ghandi'.  She reported that she was cross with herself for not having challenged the brief, and also for the way she responded to the brief because she felt her ability to play was hampered because she found the costume was so physically restrictive. 'I cannot flee the scene!', she quipped in an earlier part of her Take It Further session, while wearing the saree.

Down out, squat, up 'four.' Due to the exertion, she started, quite naturally, to make noises ... pants and grunts. This performer had done my Clown & Dark Clown workshop, so knew how to release and work with the sounds - they were compelling and rhythmic and varied.  She kept on; with burpee five, six seven, eight.  The sounds started to include a noise like a cow moaning (appalling and hilarious simultaneously). Incrementally, she introduced sounds from other barnyard animals: lambs, goats, chickens and pigs, all with the ongoing burpees keeping the base-line, inexorable rhythm going  - Down out, squat, up 'fifteen.' Down out, squat, up 'sixteen.' ...

Comedy Craft plus the cathartic value of Witnessing
Perfect Dark Clowning. We were laughing at the ridiculousness of the counting, and our physiology was affected by the vigour of the movement. The animal noises were absurd and ridiculous, however her desperation and commitment had an earnest quality - in her willingness to engage with the task, we could also imagine the women's choicelessness or obligation to fulfil their daily quota of men.  

The underlying rhythm of the burpees affected our physiology (our 'laughing gear'), the moment to moment surprises (contrast) of the chaotic sounding but wonderfully varied and contrapuntal animal noises added laughter nudges, and a sense of the Ridiculous (while at another level making a comment on the poor sex-workers' de-humanisation). So laughter was created, but Troubled Laughter - because the improvisation clearly conveyed the horror of what was being demonstrated  / presented for us to witness.

* I celebrate the uncategorisable.

** Her nakedness is not sexual in intent - although some viewers respond to it through a sexualised lens.

*** of course there are some who think Hamlet has actually been driven crazy - and it would be totally understandable if that were the case for Dangel Geyer - there is ample cause for mental pressure.

Sobbing for the fun of it
To prepare for this exercise, there are two steps.
First in full group I give a short demonstration of me talking about a happy day, but while sobbing. ‘Choose a happy moment, a real one – no you don't have to choose a moment that is very precious, just a nice simple happy day.'
​ 
The group pair up and take it in turns to do this task.
 
After each turn there is usually a lot of laughter. Most people can remember an instance of crying in childhood and at some level enjoying the rhythms of one’s own sobbing and breath patterns.
The laughter is about the incongruity (happy story told sobbing), but the laughter is also a response to a release of energy. There is also fun to be had in being given permission for rhythmic vocal play.
 
List your possessions
Step two. Find a new pair partner. (I find it advantageous to keep the energy circulating in the room).

This time, the first one to try the exercise will list their possessions, just as they come to mind, actual possessions, starting with something small. Each thing named needs a small piece of mime or gesture and the object needs to be created and or placed somewhere specific in the air around the performer, i.e. to the or right or left, higher or lower. For example: a pencil could be held up vertically, or measured between two forefingers; hands could make four quick tiers for 'towels'; a pillow could be held in two curved hands and given a little shake. People can use pantomime blanche, where a rectangle drawn with forefingers can represent a TV. Or it can be quick mime i.e. typing fingers on a keyboard for laptop. Each time each object is mentioned, the accompanying gesture needs to be in the exact same place. If the do-er of the exercise omits the mimetic gesture, the partner should urge: 'show me!.

Their partner’s role is to put pressure on them, hector them (to help create a sense of High Stakes), asking 'What else?', ''What else have you got?', and once there are a few things, the partner will shout 'LIST!" - and the do-er of the exercise must list in exact order each thing they mentioned complete with the exact gesture and location in space. Of course any mistakes are to be welcomed. If there is brain freeze, the performer can make a sound to voice their anxiety. Dark Clown work represents the Marginalised Emotions. Any dithering or tongue trip can be voiced. If they can't remember the list or get something out of order – great! The doer can feel the embarrassment or other emotion of the wrong gesture or wrong order and to express that with inflection of voice, breath and/or gesture. 

Swap - the other partner lists and the first do-er hectors. I ask people whether they give each other permission to put a bit of pressure on them, for the sake of providing the momentary adrenal surges which bring syncopation to the exercise. 
 
The Consumer Guilt Scenario – basic setup 
Now – the Consumer Guilt Scenario. The group line up chairs ready to sit and watch as audience. This is a solo piece. I ask who is willing to be the first player and I add more information: 'Imagine that you are standing before some kind of Tribunal (think of ‘self-criticism’ in the Stalinist era, or a less violent version of a ‘struggle session’ during the Cultural Revolution in China).'
 
The player needs to invest in something at stake – even if it’s at a simple level of nervousness and uncertainty as usual in any panel interview: 'What will the outcome of this interview be? How many items must I list? Is my list long enough? Is my list too long?'

Remember, Dark Clown uses a High Stakes to release the impulses for Marginalised Emotions. I play my part in offering stimulus to raise the stakes.
 
Transparent teaching
I let the group know that when I raise my voice or speak harshly, that I am taking on the role of a power figure. The player of the moment is invited to pretend in the proposed predicament as well as they can, knowing that they also need to avail themselves of any moments of naturally arising impulses and to give them shape and sound. The work on the course leading up to this exercise lays a lot of ground work, so course participants know what the methodology is and why things are happening. They have also had a preparatory talk laying out the aims and ethos of the work.
 
When I give a sharp command, the aim is to startle the physiology – most people’s intonation will rise when given a sharp instruction, some people stutter (these form part of the rhythms and timbres we play with as 'Dark Side Play'). Those who have worked with Gaulier or a Gaulier-trainer Clown teacher, will know that the teacher's interventions in role as grumpy Clown Professor are there to give the (Red Nose) Clown a skip in their step, or to release an emotion (the Red Nose Clown’s unmasked humanity which we love to see), or to allow the Clown to release some élan, to ‘save the furniture’ (save the situation).
 
As stakes-raiser, I say, or shout, ‘What have you got?’ And they are off.
I switch to my coaching voice to remind them to give clarity and simple precision to each item they mention. I also use the prompts 'show me!' and 'list!.'
 
The mechanics of responding to the audience within the Predicament
From the start of the course, I have been encouraging the participant to look and see (‘when you look, remember to see’). The other way I phrase this is to emphasise ‘noticing’. Each audience reaction can feed the performance of the player.
 
The performer needs to work the audience as a comedy player needs to work / respond to an audience, while in their imagination, they see and respond to the audience as the panel.
If the audience laugh, it is useful to imagine that perhaps they did not understand, perhaps some of the ‘panel’* don’t speak your language - this gives the opportunity for the player to repeat it (exact timbre, rhythm, volume, using proprioception) you say it again (usually another laugh occurs) - the player can then allow this to unnerve them and therefore take the opportunity of a further repetition (as if due to nerves), and say the thing a third time (usually someone else in the row of watchers/class audience with laugh then  Rule of Three). Then the player can react with anxiety to the fact that they are being laughed at. This serves two purposes: a/ the logic of the predicament - 'is laughter a good or a bad thing?' serving the stakes and performed emotional state of the player and b/ the comedy craft - 'laughter an interruption that must be dealt with’ as Avner the Eccentric says.
What, in this moment, does the interruption do to the figure in the improvised predicament? Does it put them off their game, shame them?
Ongoingly, there is the pressure to keep more items coming, and of course to ramp up the rhythm by responding to the command: ‘LIST!!’
 
Raising the stakes again - the importance of imaginative investment
Ok – let’s go back to the set up for the exercise – because there are a couple more elements to it.
 
The name of the scenario is Consumer Guilt. I remind the player of the moment that they can begin the improvisation crying or they can work the items / list game first, then do the list citing or break out into sobbing as a counterpoint / contrast / escalation. I remind the player where necessary to avail themselves of different rhythms and timbres.**

Combined with this, I invite us all to reflect on our privileged lives and the obscenity of what we own in comparison with many in the world.
 
To activate this further - one more thing is set up. I mention the ghastly earthquake in Haiti, and invite the player to see, over to the left (metaphorically, In their mind's eye) – a little grandma - to imagine a poor little aged woman who has lost everything … every thing … I say. She is there, naked, under a piece of plastic supported on sticks, next to running sewage.

'Ok now – what have you got?'
 
Every so often, if people are not allowing the emotions of guilt and shame to surface, I prompt them to look at Grandma.
 
And to say: ‘I’m sorry Grandma.’ And to say it: 'Again!'
If needed, I invite them: ‘can you sob a bit?’
'List!! What else have you got?! Look at Grandma, say: "Sorry Grandma."'
 
If people can segue into sobbing, a further level yet can be added where they look up, appalled at themselves and say ‘oh god!’ and play with what timbres and rhythms of that game - or use 'oh god' as punctuation / counterpoint / alternation with the game of listed objects interrupted by the apologies to Grandma.
 
Trouble shooting - noticing and sounding the arising emotions
People can, understandably enough, focus on coming up with the next item. There is zero need to come up with anything interesting, in fact, the more banal the better. People tend to be task-oriented rather than being-oriented. What's key in clowning in general is noticing, accepting and including any passing emotion that may arise. While the list is necessary and important to get a rhythm going (as well as provide the content for the contrast, the obscenity of plenty and the picture of inequality), what we really enjoy are  the little flinches, the flecks of pain that read in the eyes of the player who is immersing into the pretended (but heck, let’s face it, fully grounded in reality) Predicament. Any anxiety about a delay in finding the next item, or fear of not being able to think, or nerves about standing in front of other - all these are impulses to be experienced. All Clown students would do well to allow themselves to express the micro-emotion of the moment in sound and movement. Wonderful, strange, little quirks can affect the face or the voice under even a modicum of stress.
 
Resistance and the accidental extraordinary physiological response
People sometimes resist looking at Grandma. (Thereby cheating themselves of the opportunity to escalate their playing energy).
Working in Holland in January***, despite several reminders ‘Look at her!!’, the player was resisting doing that.
‘Look at her!!!!’, I insisted, and she did start to turn her head ... but before her neck fully turned, it snapped back. It was this wonderful, compelling, unplanned flinch of aversion!

We laugh with delight or incredulity or just plain surprise when the Red Nose Clown does a spontaneous something that is quirky and fresh-minted from the impulse of the moment.
For me – that involuntary flinch was a similar gem - eliciting a gasp of Troubled Laughter. 22/9/2024 I call this an extraordinary physiological response - see this blog post of DC terms.

These unbidden gestures (accidents of the moment and of physiology) are the nuggets of the joy / pain / catharsis of the Dark Clown. The wonderful performer who plays The Seal in the ‘Eco Horror’ scenario shown in the Dark Clown documentary (Hospital Clown Faith Tingle) has done the Clown & Dark Clown course three times. She surrenders her physiology to the imagination and the impulse of the moment. In Dark Clown the impulse can be an ongoing (pretended) stress situation. Once, doing the ‘Horror Is’ exercise, she invested magnificently in imagining her phobia/object of dread and her forehead veins bulged and danced in a compelling way. And because her rhythms were in place, laughter was released. A sound could be made in a moment of witnessing stress – cathartic nugget.

Let's go back to the player in Holland and that wonderful flinch! What we saw in that moment was a human who would not look. Her very body resisted the direct command. It was such a human response – we all know in ourselves that knee-jerk will, that aversion, that refusal to look at pain - those moments when we really do not want to look on hurt or ugliness, when we want to live our lives as we have arranged them, not accept responsibility for others, and not have our status quo threatened. Arrogance, denial and fear mixed – how is that for a Marginalised Emotion! And I love it all the more because it is not coming from reason, it's coming from the body's primal instincts, the Amygdala response (if talking about the Amygdala in that way is still good science).
 
Shame - another memorable moment
In December 2019, there was a wonderful iteration of this exercise. The player of the moment was a talented actor and dancer. 
In his list of possessions, he mentioned shower gel and a loofah. Something about this, about the way he said it, had a quality that attracted my attention. He is an intelligent person and was no doubt alert to the particular combination of privilege to be able to afford the healthy natural and rather exotic product (the obscenity of owning items which invest us with a touch of smugness) and also the vanity of it too - like the Beckhams, we exfoliate.

I said, 'Ok you are going to take that loofah and that shower gel and have a shower, and apologise to Grandma while it is happening' (Just so you know - I have a rule that course participants can choose to break and leave an improvisation if they so wish at any moment of their choosing). He took the invitation / provocation and began to shower (fully clothed, just to be clear!) and he did something I did not expect. He remained in relationship with (aware of) Grandma as he started to come showering, and then there was this little instinctual shift of his body and he turned the front of his body away from her. We saw a human being ashamed to have the luxury Grandma did not, ashamed to affront Grandma with his nakedness, and also ashamed on his own account of being naked in front of Grandma. So poignant, so ghastly. I am no stranger to the emotion of shame and it is so – I don’t know the word … liberating, reassuring, the opposite of alienating? Validating? Healing? Thank heavens for Brené Brown doing her risk-taking work in the field of Shame. To be able to see these awful moments of life in a ‘safe’ setting in the ritual space of theatre or theatre making or theatre training.
 
*To be clear, the player looks at and is tasked with reading the audience as 'panel' (while attending to their laughter and other responses according to the techniques of comedy craft, as audience). The audience when watching exercises or scenario improv’s are instructed to be a normal audience. When I say panel – this is the reality of the predicament of the performer. The performer is playing someone standing before a panel. The performer responds to the laughter and silences of the audience from within the pretended predicament. Occasionally one needs to coach participants sitting in audience (either in Red Nose or in Dark Clown exercises) to avoid the impulse to coach fellow course members - i.e. to call things out to them that you think they should do. The work at hand is training how to work a normal audience. If people are calling out as peers/would be coaches, how is that helping their fellows train to work a normal audience?
 
**When we do a very early Red Nose Clown exercise ‘Moving Around the Room Like’, I land this point: ‘Clowning is not intellectual. It is often a shape, phrase, sound timbre rhythm that we like … so much that we’d be happy to see it again … and again (the Peekaboo exercise reinforces this, so does the example of playing with a baby ‘LookatthePanda ….’). We see how laughter can wane or fail if people have not built sufficient proprioception skill to accurately reproduce the thing that happened just before the laugh. If they do it softer volume it’s a disappointment and can remove the possibility of a rule of three; if they forget what they did, tumbleweeds may ensue.

***'Comedy can make people aware of what is going on in a way that is easier to digest than the news. It engages people more. I got what I came for and I a lot more fun, playfulness and laughter than I expected, given the subjects are ‘dark’. What surprised me though, was how very alive I felt after the weekend with the Dark Clown.' - Course Participant Jan 2020 Utrecht

The first time I was told to 'Sing as if your life depended on it' - it was in a workshop situation, happily, not IRL - 
and I gave it my best shot.
But I remember, at the moment of hearing the instruction, feeling dumbstruck and demotivated.
For most of us in the Western world, our lives are blessed to the degree that having to actually sing for one's life is something difficult to imagine. 






​High Stakes Predicaments and Marginalised Emotions

You are standing in a hole you were forced to dig. It is wartime and it is clear this is going to be your grave. War films I saw as a child had heroic behaviour. The clown can be courageous but the clown is mainly there to show human failure. In Dark Clown terms, failure is less of a personal failing/flaw but a result of circumstances being so strong and oppressive that we are forced to jettison our own values and dignity. Later in this post I will describe an exercise I call 'Selling Yourself Out to the Enemy'.

With the Red Nose Clown, we enter Clown State and the spontaneous play follows (having greased the wheels with exercises enlivening the body and derailing the control brain, of course).

With the Dark Clown, I set up predicaments for people to imagine themselves in - Predicaments with High Stakes, so as to help people release imaginatively into the Marginalised Emotions. On a the Clown & Dark Clown workshop, before we approach the Predicaments we prime the body; visit the Emotional Zones with voice and breath; and open up awareness of patterns of rhythmic play. 

A Dark Clown Level Two Course Participant reflects

On an early Level Two Dark Clown course in Oldham 2012, I inaugurated a couple of what were at the time new exercises. One Course Participant from that course answered my recent* questionnaire* and wrote this:

'Dark Clown is an exhilarating opportunity to embody devastating emotions and to admit the inadmissible in a safe environment. Two experiences stand out for me – one I watched and one I performed. I wept with deep humiliation and guilt as I laughed, whilst watching an exercise where a workshop participant was being asked to recount what he was going to have for Christmas dinner to a child in famine-struck Ethiopia.

How could it be possible to experience two such contrasting experiences at once? How freeing it was to be able to admit to experiencing emotions that would be condemned by my upbringing?

The one I performed was the following: I was playing my cello in a concentration camp and not only my life depended on it, but so did that of all my fellow inmates. And a small detail - I did not have any instrument to play either. I relive this from time to time. I remember feeling authentic rage at the abuse of me, my instrument, my art and the co-sufferers for whom I was responsible. That experience shone a laser mirror into my soul - reflecting back a sheer and bitter bloodymindedness - of which I can now feel proud.’

Saving Private Ryan - the Steam Boat Willie Scene 

There is a scene in Saving Private Ryan - I sat and transcribed it from the film (you're welcome!)

A German prisoner with a shovel standing in a hole is handed a cigarette by his American captor. He inhales, looks at the cigarette appreciatively.

German Prisoner: American? I like America - Steamboat Willie. Toot toot!
 
Steamboat Willie’s American …
 
More soldiers come with their guns at the ready. He stops smoking the cigarette he was given.
 
Ich bin gar nichts fertig. Es muss noch mehr tiefer geworden. (trans: I'm not ready. It's got to be much deeper.)
 
US Soldier: That’s what you think.

One soldier grabs the Prisoner.
 
German Prisoner: Nein (it’s a sob)
 
He jumps back in the grave and starts to dig vigorously.

 ... noch nichts fertig ...
 
He looks at gun and begs:
 
Please…

Resumes energetically digging.

I like America! Fancy Shmancy, go fly a kite, Cat got your tongue, cool beans! Betty Boop, what a dish! 
Betty Gable, nice gams ... sings: "I say can you see, I say can you see, I say".
... Fuck Hitler ... FUCK HITLER!

'Selling Yourself Out to the Enemy' Scenario

Giving the example of this scene from Saving Private Ryan, I asked the group: can you think of  a person or group whose values are in opposition to yours?

The Course Participant I quoted earlier threw her hand up. 'The Taliban! I'd like to do the Taliban!'
So she did. The improvisation went something like this:

I love your approach to justice! I agree with you. Women should be covered up, women should not speak - not like me, now, speaking to you. Gah! Speaking to herself, shouting: SHUT UP! See?! And women, women should be covered, Yes, Silent. Silent! SHUT UP! 
And invisible! Yes!
She held her hands in front of her face, she desperately tried to hide her uncovered areas.
Speaking about herself: Gah! Disgusting! beating her own bare arms: Disgusting!
Western women are disgusting! Let me show you - Beyonce, yes? Skimpy leotard. Give me a machete, I'll show her! Take that, Beyonce!
She waved an imaginary blade about as if hacking at Beyonce. Gah! Take that! More hacking.
Singing: 'Single ladies' No! no singing. Death - death to western women ... Death to Beyonce!
She held her arms out pleadingly:
I can help you. Gahh, my arms sorry about my arms - I'll chop them off, look ... look ... look!
Death to women who speak! And think! Gah! Beyonce! Oprah, Mary Beard. More hacking. At the imaginary women, at her own arms.
​'Who runs the world?' You! You the Taliban. I'll ... I'll grow a beard, yes! Let me join you, please.  Please?
​Please!

See here the many comedy craft games involved to make this Dark Clown scene work (aiming to generate laughter even while generating a believable portrait of desperation and fear): physical games, the games of repetition (of words, of movement motifs), the game of solution/new problem and the breath and emotions all employed with variety and calibration i.e.responding to the audience (reacting hopefully or anxiously to laughter or other audience reactions as if responding to the reactions of the enemy). All with the aim of generating  the experience of Troubled Laughter for the workshop audience.

The talented comic performer Trixie Mattel said in an interview somewhere: 'Comedy is the intersection between specificity and exaggeration.'

The more vivid and specific the predicament is, the more the Dark Clown player can launch off into the Marginalised Emotions and flights of fancy caused - not by wonder (as for Red Nose Clown) - but through the imaginative investment in a high stakes predicament and the cathartic joy of employing and enjoying an agile vocal and physical play to depict extreme desperation, fear, alarm.

The Dark Clown performer needs a good predicament,  and then to be able to Mine the Predicament - choosing things to say that make logical, emotional, dramaturgical sense; things that will keep the audience on the hook. To Mine the Predicament, the Dark Clown performer also needs to find agile changes in rhythm, timbre and emotion in relation to the audience's reactions, or in reacting to the previous thing they themselves did. Things can be extraordinary (in extremis, we do not cry or flinch in socially inflected ways), but the suffering must be believable - there can be no sense of the clown enjoying shocking us by appearing to relish the pain or enjoy the exaggeration for its own sake. As soon as the Dark Clown performer comments on or adopts a self-indulgent grotesquerie, the audience is let off the hook, and the laughter is no longer a Troubled Laughter - i.e. a laughter born of / or containing conflict.

* The questionnaire is for 'graduates' of the Clown & Dark Clown course  and or the Level Two Dark Clown course. Any 'graduates' reading this I welcome your contributions! Write to me and I'll send you the questionnaire.

'Pretty girls in nice gowns - no.'

I was approached by the remarkable performing artist Ines Lua to direct a production of Jean Genet's play The Maids in Oporto, Portugal in 2003.

Playwright Jean Genet wished for the play to be performed by men. Here I would have three attractive young women to play the two maids and their employer, Madame. Although there is plenty of self-loathing in the play, there are also evening gowns and maids uniforms and I wanted to avoid any possibility of the audience's attention being de-railed from the bleakness of the situation portrayed. So I thought - Enforced Performance is the way!

I was introduced to the writing of Jean Genet when I was seventeen and a strong imprint was made. Genet inspired me with his underdog stance and his aesthetic of degradation. For those who do not know, Jean Genet was wrongly accused of theft when he was a boy in foster care. He decided that he would make the active choice to live as a thief, and wrote a long-form poem and a novel while in prison. He sought out and introduced himself to Jean Cocteau, who was impressed by Genet's writing and not only got Genet's first novel published, but, enlisting the help of Sartre and Picasso, petitioned the French President to save Genet from life imprisonment. Genet never returned to prison and spent the rest of his life as a writer and as a political activist. Theatre maverick Lindsay Kemp created his production Flowers, inspired by Genet's novel Our Lady of the Flowers.)

I offered my concept to Ines Lua and Micaela Miranda (co-producers) - that the piece be set in a women's prison. They, and the actor playing Madame (Lecoq-trained actor Sandra Salome) agreed.

Play within a play

When the Marquis de Sade was confined within the asylum Charenton, he was permitted to create plays using the inmates, to which members of the public were invited, as memorably explored in Peter Weiss' play 'Marat/Sade: The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade.'

Of course, setting something in a location (or time period) is not enough - you need a clearly articulated and delivered game. So - imagine a regime* presents plays for the public, performed by actual prisoners. For the prisoners, first night nerves combine with the humiliation of public scrutiny, plus uncertainty - what will happen if they do not perform well? Backstory: female cellmates are separated and rehearsed separately. 

​I had to check with the young company as to their budget, because performing in a black box would not do - we needed the audience to be presented with a space they (the audience) could believe (with the support of suspension of disbelief) was as secure as a prison space. Their set designer came up with an ingenious solution: there would be two angled walls, and a flat as a back 'wall'. The soundscape would provide loud metallic door slams to make viewers believe that unseen doors could be opened to admit the prisoners onto the stage area, and securely slammed and locked behind. All the furnishings - a bunk bed SL, a lidless toilet SR would be clearly bolted to the grey walls which were painted to appear sturdy. Also clearly bolted to the SR wall was a shallow little belle époque console, and above that a gilt-framed oval 'mirror'  (just the frame, as a mirror could of course be broken and used as a shiv). There was a peep-hole which connected to the guard's station and above that a surveillance camera pointed into the cell and streaming live feed to a monitor visible above the guard's desk. See below for a space plan.

​The audience would enter past a guard. She had a tiny office or station just inside the theatre doors.  She would solemnly nod at them, perhaps frisking the odd person or asking to see inside their bag. (Ideally she could have also pointed at a poster saying 'Do not speak to or hand anything to the prisoners', but we did not have the resources to do everything, and what we had worked well enough).

​A little bit of Implicating the Audience

As the lights lowered there were musical theatre announcement chimes, then a soft and pleasant voice said: 'Good evening, Ladies and Gentlemen. The performance of "The Maids' by Jen Genet is about to begin. If your mobile phone rings during the performance, the actors will stop - and wait for you to finish your call. Alternatively, you can opt to switch off any electronic beeping device. Thank you. Please remain seated for the Security Test.' This was followed by a a loud sound of crackling electricity - lights flickered, and an orange lighting strip embedded into the floor blinked - all giving the illusion of a kind of electric forcefield between stage action and auditorium. 'Teste de segurança terminado.** Attention guards, open the doors.'

​Black out lights up and loud airhorns, the sound of batons thumping along corridor walls, doors opening and closing*** (rhythm) and a female prisoner in an unattractive uniform (I think we chose a kind of catering uniform), arrives on stage as if she has been shoved - staggering and falling. She orients herself - bright lights, she sees the audience, feels self-conscious, looks about in disbelief (clear clocks) at the replica of her old cell presented as stage set. A second prisoner is also thrust out, less violently.

High Stakes

​The two prisoners regard each other - the horror of being surveilled - by the guard SR, by the audience. Imagine the way prisoners look at each other when they are being watched, careful not to endanger themselves or each other. In torture realms, uncertainty is part of the torment. You are never sure what the rules are, what the duration of time will be, what will be coming next. The trope of embarrassed non-activity at the start of a show has been done beautifully by a number of clowns (and Beckett) ****.

Here their anxiety is ramped, their breathing is activated. Their eyebrows are each telegraphing each other - immobilised, as if in a Mexican standoff. The second prisoner (Micaela/Claire) makes a gesture of urgency to her comrade. Ines/Solange is looking intently back at her, after all, Claire has the first line. So Micaela/Claire resigns herself to speak, in anguish: 'Those gloves! those eternal gloves!' Ines/Solange starts, looks at her bare hands, panics, looks at the audience, then sees, laid out along the front of the stage a row of plastic bags - like evidence bags in a police station, the props for the play are contained within them. Ines/Solange flings herself to her knees, crawls back and forth urgently along the front until she finds the correct bag, claws it open and frantically tries to get on the rubber gloves. The fingers are not fitted right and flop about. (real emotion plus touches of the ridiculous). 'Everything that comes out of the kitchen is spit.' Ines/Solange is nervous (the prisoner playing Solange is not a trained actor*****) and on reflex, she spits onto the floor.  Horror for Micaela/Claire. The classic clown trope of problem -solution leading to new problem - leading to new solution ad infinitum; the Clown's Sisyphean predicament. Ines/Solange starts to scrub frantically to clean it. 'So stop it!' By reflex, and in keeping with the principle of comedy nudges, Ines/Solange does one more scrub. 'Go!' Ines/Solange, has a problem ... there is no escape - she clocks the audience, the surveillance video, the entrance (which leads back to the cells and which is sealed now)  She solves the problem ... by standing with her face to the wall.  

Two lines were cut but, we follow Genet's stage direction where Micaela/Claire goes to the 'mirror' and touches the unfamiliar and absurd dressing table and the fake, securely attached flowers in the securely attached vase.  (We played Claire as more vulnerable, traumatised, given to hypnotic moments. Ines as Solange had a vigorous, nervous, courageous, protective quality).
Micaela now must say the lines 'Claire, Claire are you there?' as if her fellow player were not in view.*****

At this moment we had the prison guard (Sandra Salome) shunt open the peephole (it makes a sound). Ines/Solange is startled as the slit is right in front of her and she is eye-to-eye with the guard.
Sandra/Guard (stage whisper): 'Turn. Around.' Hesitating, Ines/Solange does so and Micaela/Claire says: 'Ah, you're back.' (For Ines/Solange this is a playing moment similar to the disorientation played by Pedrolino in Commedia dell'Arte, when everyone is pretending that he is dead).

​... and so forth. Important at the start to a/ clearly establish the situation and b/ create some comedy using contrast, rhythm, clocking etc.

Believable yet exaggerated 

The Prison Guard had an old-school cartoon-jailor-style large ring with keys around her waist. Her costume had a pleated skirt, like some ghastly headmistress.
She also has a thermos - I must have seen a film where a petty official had a thermos on their desk. (I's an intuitive choice - but if I seek to elaborate - although she is obnoxious it also brings a feeling of; she's harmless. Or does it? Somehow the thermos is creepy. She is too comfortable with her thermos - the obscenity/chilling reality that a jobsworth is a figure of power ... the banality of evil). The Controller in Hamlet or Die had a thermos. (Spoiler alert: beyond being a predilection of mine, the thermos turns out to have plot ramifications.)

Plot Twist - use everything

So the prisoners are reciting the play, performing it as best they can - they notice at one point that that surveillance camera is off - they investigate and realise that these are their actual, usual bunkbeds. They start to hunt in their hiding places and discover a vial of pills.

The Madame is due to return - guess who it is? The prison guard. She wears a wig hat and feather boa over her uniform. She suspects something is up and is violent with the prisoner playing Solange, pushing her around and forcing her head into the open toilet bowl. A beautiful red satin dress also gets pushed in to the toilet later in the play.

The plot of Genet's play has the sisters doing a role-play ritual that is intended to end with the death of one of them, via the preparation of a poison tea. In this version of the play, they sisters manage to place the drugs in Madame's thermos (she carries it with her, of course).

Follow through

Madam realises something is up and makes the prisoner playing Claire drink the tea. The guard leaves.
Death is here and she is watching us.' says Solange.
'Let me go', says Claire.
Micaela/Claire takes to her bunk.
Solange continues, distraught - a moment comes when there is no reply. Solange repeats her line, waits then says (inserted line) : 'don't worry darling, I'll do your part.'
Solange finishes the play, reciting both parts, poignantly.
C: Let's finish with this, Solange. I can't bear it anymore. Leave me alone.
S: I shall continue, on  my own, alone my dear? Don't move .... (she clock that by now Claire is completely inert ... but continues - out of grief, out of fear, out of divine hopelessness? 
The prisoner playing Solange tears off her prison uniform and strips to her knickers.
During the 'condemned to be mourning for my maid' speech she goes to the toilet, retrieves and puts on the damp red dress mentioned in the text: 'It's the red costume of criminals' ...
She is looking at the audience in disbelief as they continue to watch.

One evening Ines was having difficulty getting the red dress on and lost her way in the text and she started improvising. She looked at the audience, really eyeballed them across the now gently glowing 'force field' strip. It was brilliant!
'Oh you think it's funny do you? You sitting there in your seats and me here in my knickers!'
She used some of Genet also: ''Who, who is going to make me shut my mouth up? Who will be brave enough to call me "my child" ... I served. I did the appropriate gestures to serve. ...I smiled at you ... I bent over to clean the floor' (these sections of text wonderfully appropriate to our adaptation), ending Solange's soliloquy with: 'We are lost, Clara'.

And continuing, the dialogue all being spoken by the sole survivor.
'Clara you may serve the tea ... My lime tea, I ordered you, Let's finish with this ... this house is poisoned ...'
And she finds the damn thermos and drains it and licks the inside of the cup top, continuing: 'Madame should have her Lime tea ... Madame is having her Lime tea ... for she needs to sleep ... don't you interrupt me again ...But madame ... I said, Tea!'

And she crawls onto the bunk, spooning her dead fellow prisoner. 

Leaving it in their laps

Announcement by the same sweet-toned female voice at the start, a little more firm and official sounding now : 
Ladies and Gentlemen, a peça terminou ... the play is finished. Please leave the vicinity. Thank you for choosing our play and good night.

Black out.


* hm, one of the things that bothered me about Bouffon was that is was meant to poke fun at the beautiful people - I guess this model works where upperclass (wealthy) people are in the audience. In my experience of Fringe theatre there will be a good amount of your audience who are other performers (i.e. not really a privileged class) - of course we can all benefit by having our faults and privileges mocked. I wonder if this is why the idea of 'enrolling the audience' appeals to me. Jon Davison came and witnessed day two of my Clown & Dark Clown course years ago and said - 'so you put the audience in the role of the oppressors'. I was not sure at the time that that was correct, or possible. I feel that an audience know who they are - they are the ones who paid for their ticket and then walked in. Someone has to accept a role to play it, I thought. But perhaps what Jon meant was simply ascribing them this role, not synonymous with asking them  to play the role.  You can jolly audiences in to taking part, as many clowns and cabaret artist do. (Or entrance them into taking part as Lucy Hopkins did in her transcendent show 'Ceremony of Golden Truth').
As I reflect on the dramaturgy of this production of The Maids and also Hamlet or Die, I went to efforts to let the audience know what the situation was. The audience find themselves 'cast' as an audience witnessing oppression for their entertainment. It is not that I wish place the audience in the role of perpetrator. No. I aim for the audience to find themselves in a situation which they find unsettling and repugnant - and while they know it is 'only a play', due to the 'suspension of dis-belief' effect' they can experience conflicted emotions ('I witnessed it therefore I am complicit' or, as happened in Hamlet or Die 'I sang along with the Controller and afterwards I felt so bad.')
**actually, the whole play was performed in Portuguese. I can find no translation in English that satisfies as much as the use of the word 'terminado'.
***actually, on a page of notes for the sound designer I see I have written very specifically: 'aruga aruga (2 secs gap) aruga aruga (2secs gap) aruga aruga (2secs gap) aruga argua aruga argua aruga argua SLAM!!!!)
****The wonderful Australian clowns Los Trios Ringbarkus spoke with nervous high-pitched voices: 'Our band hasn't arrived yet ... so ... we'll wait.' And they got chairs and sat and faced the audience uncomfortably.
*****The actor acts a prisoner who is not an actor, trying to act the role of Solange, currently in role as her sister 'Claire' - phewph.

Slave Clowns in some heartless regime are forced to perform - they are kept as some kind of underclass serving as roustabouts - rigging the equipment for the star acts, and cleaning up afterwards - that was the concept for the 2013 show, Strange Forces. Lynn Gardner tweeted ‘Peta Lily directed show at Circus Space last night was terrific. Clowns like wounded refugees from a post apocalyptic Beckett play.’  See below for images and link to footage.

I taught for a few years at Circus Space (which then become NCCA - the National Centre for Circus Arts). For the school's annual graduation show there was a tradition that the first year students were led by a director to provide the 'links' - short ensemble acts to cover for and accomplishing the rig and de-rig necessary for the different disciplines of the various acts: Chinese Pole, Slack- or Tight-wire, Arial Hoop, Straps ... and so on. This is akin to the role of the Clowns in traditional touring circus where they would come on to discharge the tension created by the more dangerous acts. I also think of the Rodeo Clowns who come on to keep the show action going and the crowd engaged when things have gone dangerously awry.

'What is the world we are creating?' is a question to be considered in any performed production.

The opening scene had low light and later, bleak, blue-green tinged ilumination. The sound score contributed with a desolate-sounding drip and an occasional electrical fizz - we are in a large unfriendly space with, perhaps, puddles and exposed electrical wiring, occasionally some flickering due to power surges - due to punishment happening somewhere off, unseen.

All the clowns were dressed in white - unified, but with variation in detail. Disposable decorators' overalls suggested both institutional garb and chem-haz gear. Their hats were in fact disposable shoe covers. ​The designer for the Slave Clown 'links' was circus design specialist Andie Scott. 

A tall and small clown pair (the small one riding a child's tricycle) do a sad circuit bearing a sign to announce the show title. We hear a squeaking of the tricycle wheels.

Next came a single clown, pushed out on to the stage from stage left. Then a white rope is flung and flops to the floor. The lone clown looks at the rope, the audience - all with dread. She picks up and shoulders the rope, taking lunging Volga bargemen steps. The rope extends and tautens. Next comes a shuffling bunch of humanity - terrified slave clowns lassoed inside the rope, making their way across the stage. One at the back starts to collapse, but they must, must keep on going, like Jane Fonda carrying her dead dance partner in They Shoot Horses Don't They?  The whole process is made more difficult, but them manage to exit, with him being dragged behind, their anxious faces to us, hoping we don't notice too much. 

This was followed by a circus parade - traditionally this would be circular, inside the space of the circus ring. In this staging it was a linear procession (evoking the regimenting of prisoners rather than a festive celebration - even though, originally, there was the deathly circle of the coliseum). Each prisoner had small costume details or props - one dressed as a lion, others juggling, one repeatedly pulling a dead rabbit from a hat.

First act: Chinese Pole was followed by two clowns pushed out. One has a buzzer and is being forced to inflict electric shocks on her partner. Clowns hurry on behind, dragging the inert body of the clown who collapsed earlier - one of the team steal the buzzer to shock him back to life as they cannot do it without that extra man. The revived slave clown manages his part of the de-rig, then takes another bad turn and must be dragged off - there is an image of this moment in the slide show here. Meanwhile pillow-case-headed slave clowns (you can see the pillow heads in the slide-show mentioned earlier) drag on a body in a sheet - opened to reveal a twisted body - a loop is placed round the ankle of the body which is winched up - this is the next performer (the wonderful Lydia Harper, now touring with Cirque du Soleil), who performs her cloud swing act, which ends in a poignant neck spin.

This shows a dramaturgical opportunity dilemma. The purpose of the evening is a show-case for graduating students so it was not possible or appropriate to inflect the actual  acts. We certainly established that there was a hierarchy where the performers of the featured acts were of a different order to the slaves. If this had been a production where the remit was for all the content of the piece - one choice could have been to make the acts even more glamorous and elaborate in their visuals e.g. bejewelled and feathered costumes. Another choice could have been to make each act a life-or death trial in some way (such as Lydia's entry and finish allowed for). Also there would have been an opportunity here - what might have been a good game for the implication of the audience? Might a slave clown have been sent out with a kind of geiger counter to measure he applause after the featured acts, and then looked at a dial and reacted in a number of ways - e.g. at first, just a general agitation to set up how important it was to get an accurate recording (or risk punishment), on another occasion - a head shake and a concerned look at the way the performer had exited; another time measuring clown might appear late and only catch the tail end of the audience reaction and look with appealing eyes to the audience who might only partially clap - reacting to what ever the audience did with desperate hope and ultimately their expression would read culpability as well as anxiety - they might well leave with a sob ... etc.

​While the cloud swing was being de-rigged, the Pillow heads make a return. A height-adjustable black screen is quickly erected and when the slave clowns step aside we see Little Man - he so sweet natured and happy, the expressions of the slave clowns is a nice Contrast. As with a doctor about to deliver a bad diagnosis, the pillow-heads cannot participate in his optimism. One slave clown advances with a barber-striped stick tipped with red feathers and tickling begins, resulting in suffering and eventually the existential, unanswerable cry of 'why? why? why?' (In Ancient Japan, this was a genuine method of torture - kusuguri-zeme: 'merciless tickling').
A cue point within the 'Little Man' scene set other slave clowns in traction setting up a table for the next act - juggling. One slave clown was given a tiny bellboy hat to wear to assist the performer by delivering her prop suitcases and collecting her coat. This act leaves some mess and an operational vacuum cleaner inside the headdress of a costume made to look like a small elephant comes on to clear.

A rope act follows, ending in a heel hang. The next link featured a clown with goggles and a whip and the entry of a tragic-looking unicorn (pantomime horse). In this reality, even a magical beast is degraded. The whip cracks force the unicorn to raise on hind legs and then to endure the humiliation of  a nervous slave clown throwing juggling hoops onto his horn. In Dark Clown all options are painful - the fails cause fear of punishment and the successful throws hurt the soul of the slave clown (and the unicorn).
​
The set-up for the following act is accomplished in the background. (A delightfully upbeat act by Tom Ball who plays a boy scout - the act starts in a tent, he climbs a ladder like some kind of scout task up to a high trapeze - beautiful). 

​The unicorn dolefully returns to support an acrobatic interlude in solving tutu-ed slave clowns.
The stage is set with hoops for a hula hoop act to follow (the consummate Helen Orford).

The long-suffering unicorn is tempted on with an apple ... he is reluctant but allows himself to put his faith in humanity once more. Once more, humiliation as the hula hoops left on the floor are slung around his neck. As he exited, one slave clowns sang an 'orphan' song accompanied but another on a ukulele while a third clown came on quietly up stage and yo-yoed.

At the end of the song, the interval play out music - Tom Waits 'Satisfied' (an upbeat song about death).

To welcome the audience back there was a scene of three terrified (yet highly skilled) slave clowns performing acrobatics to totalitarian music. Unless you were there, you'll never know. It was hilarious.

Tightrope act. Then three slave clowns dance/contort in three isolated spotlights (one is dressed as a skeleton) to cover de-rig of tightrope and rig for straps. Also, the collapsing clown is dragged across the stage, clutching a juggling club (my notes don't carry all the detail of this running motif - which built to a lowkey payoff).

Straps act.

The slave clowns nervously build acrobatic tableaux - they quiver with the strain of holding their positions while one hapless slave clown must make a painstaking squeaky tricycle journey across the wide length of the stage (meaningless activity is a spirit-breaking exercise in political camps) to deliver a juggling club at the furthest end as the final detail.

A rope act, which ended with silver PVS film dropping from the ceiling. Nelly vac makes another entrance to help hoover that up. The littlest tuttu-ed clown crosses with a brush also followed by the unicorn wrangler and her whip. Bag Heads dance, not no good reason (I love working with ensembles - once can generate a lot of material - I always ask people what skill they bring and it's wonderful to try to honour everyone's contributions). The Nellyvac, having cleaned, does a tinselly poo onstage (ah the pointless-ness of life). The 'elephant' wrangler takes out a plastic bag of course to clear up  the elephant's mess.

The wonderful Matt Green does a juggling act - it is reminiscent of Beckett's Act Without Words - his hoody is on back-to-front so he is working blind some of the time. He loses clubs, throws away clubs, reaches for clubs that don't arrive and then clubs thrown on him (as if an assault by fate).

At the end of the act clowns come on singly to clear the clubs strewn about. Here the slave clowns came together in couples and slow-danced. Two central clowns take focus and move apart as if pulled by external forces (other clowns subtly place a crash mat), ready for Ben Browns lovely aerial hoop act, with an atmosphere of pining.

Andie Scott had used a scrim at the back. In a dramatic change of mood, with an impressive soundscape chord, we see a through the scrim where a kind of 'Wailing Wall' is revealed - a vertical vision of hell. Against the bare brick wall we hung white hoops and ropes - all the slave clowns were writhing there in agony and despair. My intention was to evoke something like Hans Memling's The Last Judgement.

​Suddenly in tutus and balaclavas come the clowns dressed like Pussy Riot. Their very can-can kicking liberates and enlivens the clowns who descend on to the stage area and raise up the Pussy Riot dancers and leave, triumphant. 

Fizz, drip, desolate lighting - two clowns enter, enthusiastically pumping placards ... their pace, energy, mood slows and drops as they see they are too late for the revolution .. and they sadly set the scene for the next act.

They place a chair for the harpist who will play live to accompany a stunning and moving acrobatic balance duo about love and interdependence.

​To finish the evening on a high - there is a triumphant celebratory juggling arcade with exuberant acro - the slave clowns are free after all. 

You can now see segments of Strange Forces on the Peta Lily Company YouTube Channel.