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 demonstration of injustice. Not that the laughter is about any kind of insight, it is mostly just a response to a release of energy, or the 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. 

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 perfomer 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.
 
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. 
 
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 minds 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, there 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.

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 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.

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.

As part of my Drama School teaching, it is my great joy to be tasked with creating clown pieces.

Just before the quarantine started, I was working on a student production: Clowns perform John Ford's 'Tis Pity She's a Whore. It's a theatre laboratory course so our brief includes deconstructing and responding to the original text.

The group were all on board with including a feminist point of view. They had recently created a scene to deal with the role of women in their previous module's production of Threepenny Opera.

John Ford actually writes well for women - the female characters here are spirited, feisty and wry, even so, the idea of the clowns coming out saying 'We have a problem with the title!' was in the forefront of my mind.

I developed a process for approaching classical texts to be played by clowns.

In previous years, we worked with The Revengers Tragedy. One year we used a #DarkClown concept: the audience entered to find themselves in a 'rehabilitation centre for clowns'. The concept was: sweet clowns are punished by being forced to present a vicious and violent play, so that they can better fit into society. Towards the end of the show, there was an alarm and an announcement - the clowns had failed at their task and had to depart as their identifying number was called. I had given this direction: 'You are leaving to your death. The prop you are holding now will be the instrument of your death.'

One character left with a haunted face, holding a cucumber before him ...

Another year, a different production/concept for TRT, an organisation of clowns were attempting to understand the 'sad normals' (regular people). The production was divided into chapters: The Clowns try to understand Power. The Clowns try to understand Flawed Humanity. The Clowns try to understand Grief. The Clowns try to understand The Plot ... etc.

I am always inspired by the underdog and for me clowning is a way to present neglected points of view. With The Revengers Tragedy, we included Vindice's dead girlfriend Gloriana as a speaking role. After the scene where Vindice dresses the corpse of his dead beloved (Gloriana), in order to trick and wreak a pointed revenge on the Duke, poor Gloriana, decked in a necklace of 'Magic Tree' car deodorisers (the text said 'raise the perfumes', we made a nod at the room for the sin of Sloth in the film SEVEN) broken-heartedly mourns to Vindice: 'You used me!' This was all the more poignant for by being played with wonderful sensitivity and vulnerability by a very tall male student.

Clown Dramaturgical Process 
​
​An early step is to check out what skills your group has - appoint a monitor and circulate a list. A skill can help inspire a scene. The act of making the list puts that elements in the group imagination. It's also a concrete invitation into clown thinking e.g. 'when can we fit acrobatics into this classical text?' One student was thirsty to use her mime skills which led to the idea of a play-within-the-play scene between relatively minor characters Philotis and Bergetto being played by a single performer in a half-and -half costume - check out RuPaul's Drag Race Season 7 Ep 10.

A key step in the devising adaptation is the Clown Council. We make a circle of chairs. Everyone takes a seat and enters clown state. I tell them that this is a meeting of the Clown Council and they are instructed to stand up when they feel the urge to speak about the themes of the play. I act as scribe to capture what the clowns say.

Later, back in 'sad normal' state, we discuss and find common ground / significant connections.

I encouraged students to put forward their favourite moments from the play, nurturing the emotional connection of clown through their enthusiasms for and reactions to the text.

Processes I used in earlier years included using Arnold MIndell's World Cafe process and the Marketplace Lazy Susan (more information on that process to come perhaps in another post).

Looking to the underrepresented led to the idea for extra scenes for Putana and Hippolita, and the acknowledgement of the point of view of the embryo produced from the love affair between Annabella and Giovanni. It is good to bear in mind that a clowns don't discriminate between the animate and inanimate the way 'sad normals' do. Annabella's heart is brought onstage in Act Five, skewered on Giovanni's knife. In our production, one clown eagerly volunteered to play the heart.

Taking things literally is another useful vein. A quick instance from one of the The Revenger's Tragedy productions - one clown played Vengeance and came on every time Vengeance was mentioned (once mistakenly coming on at the mention of Virtue) and when Vindice raised his sword and said: 'now nine years' vengeance crowd into a minute!' (3.5.124), Vengeance came on and stopped the show as he counted 'one Mississippi, two Mississippi, three Mississippi ...' Yup, all the way to 'sixty!'

Another process consists is the theme ideas cloud: I pair students up randomly and assigning each pair a theme. I ask them to put their clown brains and hearts to this task - to think of metaphors and clown-logic ideas, and songs for possible inclusion. 

Making Metaphors concrete: working on this year's text: 'Tis Pity She's a Whore, one student, working on the theme of Vows came up with the idea of a ring. Vows are binding. Two Clowns conjoin themselves by wearing a rubber ring in various unwieldy ways, hampering their joy and freedom. Another pair of clowns had the idea of costuming themselves as halves of a pantomime horse. The clown playing Annabella would have worn a horse's bridle, making visual Annabella's status as property which is being negotiated for. Intuition can bring extra comic grace notes. One clown was fascinated by the mention of Parmesan cheese in the text (which is set in Parma) - this would have been inserted as a choric running motif. Another clown was perplexed by the mention of melons in the play - the event where Putana's eyes are put out could have included a clown sitting quietly onstage using a kitchen utensil to make melon balls, while the clown playing Putana screamed.

Costume as dramaturgy. If there is an overriding concept - e.g. Clown Correctional Centre cited earlier - there will be a base costume (or base colour palette) serving that reality and indicating the prison costume or the prison atmosphere. Elaborate bits such as period ruffs would be permitted/supplied by the authorities and clown props (balloon, wooden saw) could work their way in to make a poignant contrast. For 'Tis Pity, I held conversations with each student regarding what their clown might be wearing. A Jacobean crinoline would be worn by one clown, mime apparel for another and two clowns chose cowboy gear. One clown was inspired to wear a rabbit headdress and costume (think Donnie Darko) - this came intuitively from their imagination being captured by Vasques' line 'let my hot hare have law.' This 'Punishment Rabbit' could have appeared intermittently, providing a wonderful irrational way to underscore the theme of hot-headed violence which erupts more than once in the play. There can be sense in nonsense.

The combined metaphors, prop, improvs and running gag ideas birthed a coherent (according to clown logic) approach and the whole would have come together something like this:

​'Tis Pity She's a Horse

The clowns found a script in the back of a Ford Fiesta. 
They were really impressed that, 
while singlehanded-ly revolutionising the automotive industry (yay horsepower), 
Ford (clowns get things wrong)
​had somehow also found the time to also write a play 
(and make some fine Western movies, too, apparently). 
The clowns felt that their presentation of ''Tis Pity She's a Horse' (sic) would be a great opportunity to show that clowns can do high-brow material.
Well some of them. A couple of them just welcomed an opportunity to dress as cowboys.
Or as Death (from The Seventh Seal).
Under the 'leadership' of a Peter Quince-like Company Manager,
this famous tale of incestuous love would have begun 
with a smooth, lively rendering of Sly and the Family Stone's 'It's a Family Affair', with a circular parade of pairs giving quick snapshots of innocent sibling jostling and, on a second circuit, snap-shots of physical less-innocent curiosity. 
The various suitors would have competed in a Derby for the hand of Annabella. 
Soranzo would have disqualified Grimaldi for unspecified reasons and 
Bergetto's horse would have been shot, and sadly not responded to any of the normal methods of resuscitation.
Hippolita would have made a splendid entrance with 
terrifying black-bin-bag wings and spoken of her betrayal with Valkyrie-like rage.
There would have been interruptive appearances by the 'Punishment Rabbit' (see above),
and a Public Service Announcement 
about how the stork arrives when he sees True Love.
There would have been a special appearance by the promptly conceived 
Clown of Shame, with an Oedipus-inspired monologue:
Whose tale more shameful than mine, 
whose lot more dire?
My motheraunt and uncledad 
Did beget me, commingled in one bed.
The fruit of sibling loins;
Monstrous progeny made in equal parts 
of sublimest love and darkest sin.
Ah me! ah woe! oh misery!
And my life short and brutish in the dark
To be murdered unclean and unborn  
by my uncledad’s blade ...
Was ever nephewson afflicted thus!
(lines mashed from Oedipus, Hamlet and TRT)
Annbella, Putana and Hippolita would have risen up from their various deaths to 
address their dead beloveds (using text from Oscar Wilde’s Salome): 
Ah! thou wouldst not suffer me to kiss thy mouth. Well! I will kiss it now. I will bite it with my teeth as one bites a ripe fruit ... There was a bitter taste on thy lips. 

It would have been edgy, elevated and stupid - with touches of pathos and just a little feminist rage.
Due to COVID-19, the production only exists now in the imagination. 
​But the imagination is a wonderful place.

Work on the book has begun - I will be writing the book throughout this year.

A step-by step approach helps the participant really engage audiences and to develop expertise in the important comedic use of rhythm and comedy craft.

We start in Clown mode to build the play and connection in the group, but also importantly in Clown mode we can cover physical, vocal and rhythmic techniques for creating, growing and building laughter. (In order to create the Troubled Laughter of the Dark Clown, we need to be able to create laughter relatively reliably).
​ 
We then move on to exercises promoting and supporting a portrayal of the Marginalised Emotions. Other exercises grow the particular flavour of audience awareness that supports the Dark Clown work (see Implicating the Audience below). Then we get to layer these elements together.

Don't worry about the terms used here - all is revealed and learned experientially step-by-step on the course! 

Then we turn to the Dark Clown Scenarios. There are a growing number of Scenarios including North Korean Competitive Crying, Consumer Guilt, Body Horror, Makeup Rabbits, Somalian Pirate Hostages, Eco-Horror, The Beloved, Kidrophobia and many more. 

There is a rich range of reactions possible when witnessing the compelling Dark Clown work. 

The work is carefully set up in an ethically held space - performers get a chance to invest imaginatively in High Stakes, where energy and expressivity is released. 

We are aiming for what I call 'Troubled Laughter' in the audience - laughter happens but it is not a laugh at. 'Troubled Laughter' does not trivialise or dismiss the suffering. The performers (course participants) -  aim to learn to implicate the audience. Done correctly, the audience laugh in a way that is either troubling or cathartic and often both at the same time.
Sometimes they veer between laughter and tears (and occasionally both at the same time).

The joy of connection is nurtured during the process.

Many return to repeat the course - describing it as 'challenging and rewarding in equal measure'.

Maybe also have a look here.

These images by Robert Piwko Photography - highly recommended.

A productive session last night - making the piece stronger with some excisions and elisions.

Remove that, tighten this. Insert squirty pistol there.

One of the cast wrote on Facebook describing this rehearsal period as 'a process of creation and destruction'.

I drive them mad with my stipulation for precision. I drive myself mad with my own predilection for detail, multi focus and creating moments of chaos.

But things are getting defined. The 'patient' is doing well.

Fingers crossed for opening night on Thursday.
 
See other posts on this production here.

Look at the show website with more on the backstory and inspiration for the piece here.

Currently in Hong Kong, a few days before rehearsal begins on The Death of Fun, the production I will be devising with The Fringe Mime and Movement Laboratory.

I am continuing to compile notes and organise my thoughts towards the coming production, which will be (despite the title of this blog post) in the style of Clown, Dark Clown and the Absurd. This show is going to be an experiment, in the same way that the production of Hamlet or Die (produced 2000 for Mime Lab) was. Hamlet or Die was an experiment in whether one could make a full length show in Dark Clown style. The challenge with The Death of Fun, is to make a Clown show about Clowning - or, more specifically addressing some of the recent threats to the art / profession of clowning. You can google 'scary clown' to throw up a number of online articles on this subject.
How much of a threat is posed to Clowning by the phenomenon of the Scary Clown (pranksters, thugs and horror films) and by the fact that Coulraphobia (fear of Clowns is on the rise, or has become , as they say, a 'thing' - despite the words Greek roots, it is a neologism, circa 1980's). I have been reading and collecting these articles - and was pleased to read this rather wonderfully comprehensive and thoughtful Smithsonian article on the subject today. 

This post is somewhat undisciplined (it has a split focus).

In part it may serve as the first of a series of posts making a rough log of the production process (we'll see whether time allows for both doing and reflection). 

It's also an informal wondering brought on by working here in Hong Kong.

I read some (not yet all) of J Crump's book Chinese Theater in Days of Kublai Khan (Michigan Monographs in Chinese Studies. I wanted to be more informed about Chinese clown heritage (one of the characters in The Death of Fun will be inspired by a comic Chinese performer). It struck me, reading through the scenarios in Crump's book, that there are some similarities between the comic aspects of Chinese Opera and  Commedia dell' Arte. Both forms have a 'family' of well-defined / stock character types. Chinese Opera plots are more concerned with historical stories and myths, and seem more devoted to delivering a moral message than Commedia does. The Chou (likeable, foolish characters in Chinese Opera) are given some license to improvise and have comic exchanges using copious puns. I have seen a delicious video where a character meets his own double.* I think Barry Grantham gives, in one of his books, a script where Harlequin meets his twin.

Director William Sun creates works putting Chinese Opera and Commedia together
​I'd love to find someone who has done the due research and writing on all the similarities and differences between these two forms. Googling for books or articles on the subject, I found that a director, William Sun, worked with the Shangai Theatre Academy to create a fusion of Chinese Opera and Commedia. You can see a youtube clip where he speaks about it here.

Western Clown and Chinese Clown
And to continued to be undisciplined / split focus - while thinking of similarities and differences - it's interesting that while the Western clown is most usually signified by a red nose, the defining characteristic of the Chinese clown's makeup is a small patch of white around the nose. In Chinese culture, apparently this represents either a mean or secretive nature or a quick wit.
​
* the clip is 'The True and the Fake Wu Dalang' - first he gives a clever story with lots of rhythmic repetition, introduces himself, then at about 2.56 he meets his twin. Check the demanding skill to play the whole thing crouched! Thanks to my friend Yang Wei Wei for her translation.

The Fringe Mime and Movement Laboratory are a small and enduring company of mime-trained practitioners based in Hong Kong, about to celebrate their 30 year anniversary.

Mime Lab, (as they are know for short) have mounted shows directed by the highly respected veteran mime /physical theatre practitioner David Glass, and also invited me to direct them a number of times. 

In 2000, they were courageous enough to invite me to create a show for them in Dark Clown: Hamlet or Die.​ (Audiences were, in the main, shell-shocked: ‘Electrifying…It set a new benchmark for me’ ; ‘hilarious and disturbing’ ; ‘troubling and powerful ;  ‘it was very good….ruined my Friday evening’ ; ‘full of power and commitment’ ; ‘wonderful and awful’ ; ‘I sang along with the prison guard and afterwards I felt so small’ ; ‘we felt so totally implicated and yet none of us got up to leave’ ; ‘horrifically, hilariously fascinating!’) It allowed my thinking and teaching of the body of work I was developing under the title of Dark Clown to develop to a new level.

Mime Lab have invited me back to direct a new piece. I knew I wanted to do something on the seeming rise of phobia about clowns. Also to deal with the hijacking of clowns by thugs. And the sorry fact that daily in satirical cartoons and Facebook posts the word 'clown' is bandied about as an insult. And it's unsettling to see some people in positions of responsibility adopting an air of bluster and rascality as a kind of misdirection - i.e the ex-Lord Mayor seems to want to give a message : 'I am harmless, forgivable'. To make a lame joke - it's giving clowns a bad name. 

But of course, it's more complicated than that. Not all clowns are sweet - they unsettle, their have their roots in the tricksters of ancient times - deceivers, mischief-makers, creators of chaos (for example the  Norse god, Loki). 

Many have written on this subject, and spoken on it. You can check out the Clown Symposiums held by Bim Mason*.

Here is what I wrote a while ago as a short mission statement/preliminary vision' to myself: Coulraphobia (fear of clowns) is on the rise. Who is at risk? What is at risk? When is funny heartwarming and when is it threatening? Can you venture to the Uncanny Valley and survive?  If horror movies make us fear clowns, then who do clowns fear? Thugs masquerade as clowns. McDonald’s ‘enslave’ a clown. Politicians are colonising nonsense. When chaos and unpredictability is everywhere – what happens to the clown? And what happens to the human heart? And if clowns were to rebel – would they resort to mischief or mayhem?

Grateful to Mime Lab and also grateful to fellow theatre practitioners and other valued friends who took time time today to reply to my request for feedback on copy towards advertising the show.

I knew 'Coulraphobia' would not work for the piece as show title in English or in Cantonese. Mime Lab delighted me with the title: The Death of Fun’ Chinese Title: 樂於嚇人 (translates as 'Pleasure to Scare You').

A journalist friend supplied finessing and a satisfying last line for the brief poster copy: 
The Death of Fun
What would life be like without laughter?
The clowns of the world are worried. 
No one is taking them seriously...
Horror meets humour - but the absurd has the last laugh.

A fellow theatre practitioner challenged the 'mission statement' above: '...too many big questions. They're all valid but they feel disconnected: is it about what the clowns fear? is it about them being annoyed that thugs, politicians and mcdonald's give them a bad name by masquarading as clowns? Who is going to the Uncanny Valley?  Also some questions feel like they could relate to the show and others like they're a commentary on the outside world. How do the two fit together?

I can see that there are strands inspiring my original thinking e.g. Uncanny Valley and allusion to political events and corporate power which will serve better as driving the spirit of the piece (external context rather than overt content).

I am aiming to explore:
...a kind of ‘Huis Clos’ for Clowns – an assortment of clowns find themselves gathered together in an unspecified location. A mime clown, a Chaplin lookalike, a Cantonese Opera Clown, a scary masked clown, a traditional western circus clown. Are they here for a celebration, for an audition, for a funeral, for questioning? Or worse? They find themselves compelled to perform: acrobatics, plate spinning, balloon animals. What if they fail? Existential problem – Clowns are born to fail. And if Failure is not an option what is the appropriate punishment? Surgical removal of the Funny Bone?


*Bim Mason’s Clown Power Symposium 2017
1/    https://vimeo.com/202070978
2/    https://vimeo.com/203435027

(you can also see Bim Mason’s Clown Power Symposium 2016 – where I spoke about my Dark Clown work
 https://vimeo.com/143601205)

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

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

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

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

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